I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

If you want your designs to be prominent, you will need a unique, prominent, yet professional, legible font. However, it may be hard and take some time to find the right one due to a lot of options available causing difficulty to figure out the suitable one you desire. With Mirey, you can easily create a unique identity for your design. Mirey is a display serif font in thick weights with small lines on the letters’ edges to look formal and classic. In addition, it expresses unique, artistic touches from its combinations with display font characters. This display font has thick lines and strong contrasts, so that it is perfect to attract attention and to show strong impressions. Due to its high legibility level, this font is applicable for a variety of text sizes. In addition, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mirey fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. 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.

Introducing Hipweee Layered Font Hipweee, A new carefully crafted layered rounded Typeface. The Ideas of this fonts are from wide range of reference, baby, kids, school, cafe, food desert & 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 Hipweee Typeface Hipweee Created with 7 Layer : Base, Extrude, Shadow, Dot, Flower, Hatch & Inline. Perfect fitted layer to give you a more contrast, more bold look of the title. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, and etc. It shows that Gemoy clearly can accommodate various design style. Language Support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, IrishItalian, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Maltese, Manx, Morisyen, North Ndebele, Norwegian , Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Western, Frisian, Zulu

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.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

It's 1984 and everything has sideburns. Shoulder-padded "dress for success" is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie's "enemy within" and "no society" speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. "Yuppy," Yummy," "Bobo," "Dinky" and "Woopie" are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. Fast forward two dozen years. Replay, but bigger and much louder. Fab. Let's dance. Fab is Canada Type's tribute to the Eighties. It's a five-font unicase family that brings tube design into the 21st century. The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else. The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining. Fab comes in all popular formats and contains support for Western, Central and Eastern European languages, as well as Baltic, Esperanto, Maltese, Turkish and Celtic/Welsh languages.

L-O-L-A Like the subject of the Kinks’ song, FS Lola is a little bit of both – a font with a rare combination of masculine and feminine. The font was inspired by the song, which itself was inspired by the night the Kinks’ manager spent dancing drunkenly in a Soho club with a beautiful woman... Or so he’d thought, until her stubble started to show halfway through the evening. Masculine/feminin Phil Garnham’s experience in designing FS Lola was similar to the one related by Ray Davies. Setting out to create a sans serif font, he realised along the way that he was actually dealing with a semi-serif. He went with it, though, and produced a font with the best masculine and feminine qualities: hard edges and corners tempered by shapes of softness and generosity, the outcome of what Phil calls an “organic” design process. “Initially, my designs were very graphic and hard but not very distinctive. By printing and redrawing the letters in pencil I achieved a softer and friendlier alphabet with a strong personality.” Broad Lola, as you’d expect, is very broad-minded. Available in five weights with italics – and fluent in central European languages – FS Lola offers a confident combination of feminine softness and male steeliness to any kind of design. As the song says, “It’s a mixed-up, muddled-up, shook-up world... except for Lola.

My wife was watching a baking show in which a Scottish guy attempted to cook a clootie. A what?? A clootie??? Never heard of a clootie! Apparently it is a suet dumpling, containing dried fruits (like raisins) and boiled in a piece of cloth (clootie means ‘rag’ or ‘strip of cloth’ in Scottish). Clootie font is a handmade bundle of happiness. It is rounded, soft and legible and will look particularly good on book covers. And I promise you all: one day I will cook clooties to find out what they taste like!

Cosmopolite is hand brushed font with multilingual support. Is ideal for t-shirts, magazines, phone covers, social media, restaurant menus, greeting cards, invitations, weddings, headers and many more. This brush font comes with a complete set of lowercase and uppercase characters, a contextual alternates, numerals and multilingual support. --- For access to Stylistic Alternates is required software with glyphs panel like Photoshop, illustrator, Inkscape etc. Ligatures shows up automatically. Cosmopolite Font include multilingual support for western and central Europe. If you have any questions or suggestions don't hesitate to contact me.

I present to you a font that look casual and modest, Deviato. It was made to your need of a mono-line font that look simple in design and shows modesty on it’s appearance. Deviato is a mono-line font that suitable for your need of a font that can be applied in various way of design like logotype, personal or company branding, logo, quotes, daily typing font, greeting card, sticker, and many more. This font comes in regular, bold, italic, bold italic style and support multi-language.

A Modern Pixelate font are prepared special for NFT, pixel style, game, or poster design needs that will add your value. It's so perfect to add your style and headline overview. And specially for Micro font, we crafted for old style, NFT and unique feels so enjoy to create any project that will show your main idea out. Micro Pixelate Modern Font ready with: Perfect to get creative with this font Preview as a inspirations that you can do with Micro font Ready with Uppercase and Lowercase characters Wish you enjoy our font. :)

Ribbon type. Holy grail of complex-lettering-turned typeface or an elusive Loch Ness monster that is often teased, possibly seen in the wild, but never confirmed? From the amazing lettering artist and author Martina Flor and masterful type designer Neil Summerour, comes the aptly named Ribbons. Ribbons is a sincere and well-conceived approach to providing a reliable solution to ribbon and ribbon-styled type for creative professionals when a lettering artist just isn’t available. Ribbons provides both flat and ‘folded’ options with the Regular and Fold styles, but then raises the bar with separate layer styles that will allow you to easily create the elegant back and forth movements produced with ribbon-style lettering we have all come to appreciate. These layer options are provided in both ‘smooth’ and ‘pleated’ connected styles. Flor and Summerour didn’t stop there. Each typeface was expanded with a number of stylistic alternates, additional swashed and flourished letters, ligatures, and even more in order to provide as many decorative options as possible to the creative. To round out the nine fonts available in the typeface and to ‘put a bow on it’, they’ve added a separate Shadow style and two different color fonts (available exclusively with family purchases).

Kadigan: (noun) A placeholder word. A kadigan can be used to substitute for any other noun: persons (John Doe, Acme Company), places (Anytown, 123 Main Street) or things (whatchamacallit, thingamajig). Just like kadigans can be used in nearly any situation, the members of the Kadigan font family can be used in nearly any design! These sans-serif beauties are clear and easy to use, but they also have a little bit of wiggle in their strokes and weights, for a fun hand-lettered look! The three members of the family: - Kadigan Light: An all-purpose lightweight stroke, with sharp corners. - Kadigan: A nice mid-weight stroke, with slightly rounded corners. - Kadigan Heavy: A thick, chonky stroke with pillowy rounded corners. And each member of the family is packed with features, including: - All of the basic stuff you expect from every font; - 340+ extended Latin characters; - Cyrillic character set; - Greek character set; - Those character sets? Support over 110 languages! - 52 double-letter ligatures for variety (That's right, EVERY letter. I'm looking at you, savvy revved trekkers!); - A full set of small caps (including Cyrillic & Greek); - And more! (Seriously, it was hard to stop.) So whether your work is in English, Español, български, ελληνικά, Türkçe, or over a hundred other languages, this cute and fun sans-serif may be just what you've been looking for!

Martoni font has two styles, namely clean and rough. It's a work that is purely a result of handwriting and has natural characteristics. It is perfect for invitations, signatures, blogs, social media, business cards, product brands. Martoni has Stylistic standard, Stylistic Initial, Stylistic Terminal and ligatures, and includes uppercase and lowercase letters, numbers and punctuation marks. Accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. - Ligatures: st nt ult ot ul th at ff el fl ut ll al sl et nl ct cl rt rl tt ft of ss an rr on mm - Swash: A B C D E - Initial and terminal: a b c d e f g h i j k l m n o p q r s t u v w x y z

Burstwick is a sans-serif typeface inspired by modern workhorse typefaces and designed for everyday use. It has unique personality but doesn’t suffer in more practical situations, and is very flexible: there are six weights, ranging from thin to bold, and matching oblique italicis. Lifting elements from grotesque, geometric, and humanist styles, and putting legibility at the forefront, each weight is drawn with higher contrast and subtle asymmetrical features to enhance individuality and aid in readability, particularly at body sizes on websites. These features are intended as an alternative to rigid geometric lines, bringing a natural feeling to glyphs, resulting is a friendly, but professional choice for any organisation or designer. The foundation of the design is a large X-height, which further aids in differentiating lowercase characters from one another. This allows Burstwuck to feel open, airy, and really shine when used in single-family type hierachies, particulalry in headlines and larger text. Through its 630 glyphs, Burstwick supports many Latin languages, with thorough kerning for accented character combinations, making it an ideal choice for organisations considering multilingual users, and the perfect addition to any designer’s toolbox. In addition to accented characters, a large number of special characters and alternatives have been included to increase choice and flexibility. Among these are expand currency symbols, oldstyle figures, math operators, and symbols. Language support includes: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish.

The Gill Sans® Nova typeface, by Monotype Studio designer George Ryan, expands the much-loved Gill Sans family from 18 to 43 fonts and features a coordinated range of roman and condensed designs. Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. A variety of OpenType® features are supported that make it possible to include experimental characters from different points in Gill Sans’s long history, including pointed diagonals on ‘A’, ‘V’ and ‘W’ and alternatives for ‘b’, ‘d’, ‘p’ and ‘q.’ Proportional figures are also available as an alternative to the tabular designs. The Gill Sans Nova family has a large character set that supports Latin, Greek and Cyrillic languages. The display weights support Latin only. “Gill Sans was fast to strike a chord with people after its initial 1928 release and quickly became popular,” explains Ryan. “It’s been adapted for every publishing technology, from mechanical typesetting to digital imaging – always receiving the best treatment from Monotype in each iteration. This is especially true with all that we’ve added to the new series, while still retaining the familiarity of Gill Sans. My goal was to ensure clarity across digital environments, add missing weights, and bring more personality to the family with new display fonts, as well as Gill-inspired alternate characters.” The Gill Sans Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The Series also brings to life new elements inspired by some of Gill’s unreleased work, recently discovered in Monotype’s archive of original typeface drawings, designer correspondence and documents from the last century.

Introducing Brutal Milk Font Collection where prominence, trustworthiness, and sophistication converge. Brutal Milk is a captivating grotesque typeface that seamlessly blends the robust aesthetics of brutalism with the sleek sophistication of Swiss Design and the nostalgia of Y2K. This collection featuring three distinctive variants – Brutal Milk No1, Brutal Milk No2, and Brutal Milk No3 – offers a unique typographic journey for extraordinary design. Let's break down what we present in this work - Brutal Milk No.1 | Modern Elegance with a Brutal Twist Aims for body text with the perfect balance of elegance and modernity. Brutal Milk No.1 is meticulously crafted for optimal readability, making it an ideal choice for a wide range of applications. - Brutal Milk No.2 | Softened Brutalism for Approachable Headers Aims for display/header text with a gentle and approachable impression. Brutal Milk No.2 is crafted to add a touch of warmth to your designs, making it perfect for conveying a friendly and inviting tone. - Brutal Milk No.3 | Rigid Rebellion for Prominent Headers Make a bold statement with headers that exude firmness. Brutal Milk No.3 is designed to capture attention with its rigid impression, injecting a sense of prominence and confidence into a visual identity. The Features The Brutal Milk Font Collection comes loaded with features such as case-sensitive forms, discretionary ligatures, ordinals, fractions, denominators, numerators, superscripts, and scientific inferiors – ensuring flexibility in design needs. Language Support From Western and Central European languages to South Eastern European, South American, Oceanian, and even Esperanto, Brutal Milk Collections caters to a diverse range of linguistic needs. Brutal Milk stands as a testament to versatility and innovation. Whether you're crafting a sleek logo, establishing a brand identity, adorning decor, creating impactful posters, delivering compelling presentations, designing dynamic websites, refining UI/UX experiences, or engaging in graphic design endeavour. The impressions it imparts—modern, minimal, youthful, funky, groovy, trendy, hip, fly, and undeniably cool—speak volumes about its adaptability to contemporary design trends. Redefine the boundaries of creativity and immerse yourself in the dynamic world of Brutal.

Introducing Brutal Milk Font Collection where prominence, trustworthiness, and sophistication converge. Brutal Milk is a captivating grotesque typeface that seamlessly blends the robust aesthetics of brutalism with the sleek sophistication of Swiss Design and the nostalgia of Y2K. This collection featuring three distinctive variants – Brutal Milk No1, Brutal Milk No2, and Brutal Milk No3 – offers a unique typographic journey for extraordinary design. Let's break down what we present in this work - Brutal Milk No.1 | Modern Elegance with a Brutal Twist Aims for body text with the perfect balance of elegance and modernity. Brutal Milk No.1 is meticulously crafted for optimal readability, making it an ideal choice for a wide range of applications. - Brutal Milk No.2 | Softened Brutalism for Approachable Headers Aims for display/header text with a gentle and approachable impression. Brutal Milk No.2 is crafted to add a touch of warmth to your designs, making it perfect for conveying a friendly and inviting tone. - Brutal Milk No.3 | Rigid Rebellion for Prominent Headers Make a bold statement with headers that exude firmness. Brutal Milk No.3 is designed to capture attention with its rigid impression, injecting a sense of prominence and confidence into a visual identity. The Features The Brutal Milk Font Collection comes loaded with features such as case-sensitive forms, discretionary ligatures, ordinals, fractions, denominators, numerators, superscripts, and scientific inferiors – ensuring flexibility in design needs. Language Support From Western and Central European languages to South Eastern European, South American, Oceanian, and even Esperanto, Brutal Milk Collections caters to a diverse range of linguistic needs. Brutal Milk stands as a testament to versatility and innovation. Whether you're crafting a sleek logo, establishing a brand identity, adorning decor, creating impactful posters, delivering compelling presentations, designing dynamic websites, refining UI/UX experiences, or engaging in graphic design endeavour. The impressions it imparts—modern, minimal, youthful, funky, groovy, trendy, hip, fly, and undeniably cool—speak volumes about its adaptability to contemporary design trends. Redefine the boundaries of creativity and immerse yourself in the dynamic world of Brutal.

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know. The PDF specimen was designed with the wonderful photography of Gonzalo Aguilar from Mexico. Please download it here http://new.myfonts.com/artwork?id=47049&subdir=original

Yes it's true, from time to time those awfully nice chaps at Comicraft have been known to create fonts for artists simply because We Love Their Work. Affable HEROBEAR AND THE KID kreator, Mike "He's just like your Favorite Uncle" Kunkel was lettering his beautiful children's comic strip with a font used by many, many other comic strip creators. John "JG" Roshell put a stop to all that and created a font based on Mike's own unique hand lettering style and now we make it available to you so that you can bring a little bit of Mike's Magick to your own warm and fuzzy work... because the Mike Kunkel font will help you remember your childhood... pass it on.

Gimbal Egyptian is a richly-featured font family providing many style options across a broad range of languages. It is twinned with Gimbal Grotesque, a sans-serif family with an identical range of weights and features. Originally conceived as a small webfont family, the letterforms have been revitalised to put a spring in their step and the family has been extended to create a versatile multi-script text face equally at home on the printed page. Carefully crafted at all weights, Gimbal also lends itself to headlines and display applications such as posters, exhibitions and signage while resolving well on-screen for general document creation and web-based applications. The letters are spaced for best readability on-screen and in the usual printed body text ranges but are tolerant of tracking adjustment to suit other uses. The styles are divided by width into four families (Compressed, Condensed, Normal, Extended), each family possessing six weights plus corresponding italics. Within each family, the 'regular' and 'bold' weights are style-linked, and all upright forms have an italic counterpart. The full opentype character set includes latin, greek and cyrillic scripts with appropriate local variants (also as stylistic sets) for Turkish, Polish and Romanian (latin) and Russian, Bulgarian and Serbian (cyrillic). All fonts contain small capitals for all scripts, superscript for latin and commonly used greek together with the usual numeral style, size and positioning options. The default numerals are 'proportional lining'. Other opentype features include case-sensitive marks, fractions, and some discretionary ligatures. A set of circled numerals and circled latin capitals is included, along with an unusual feature that composes 2-character country codes.

Gimbal Grotesque is a richly-featured font family providing many style options across a broad range of languages. It is twinned with Gimbal Egyptian, a slab-serif family with an identical range of weights and features. Originally conceived as a small webfont family, the letterforms have been revitalised to put a spring in their step and the family has been extended to create a versatile multi-script text face equally at home on the printed page. Carefully crafted at all weights, Gimbal also lends itself to headlines and display applications such as posters, exhibitions and signage while resolving well on-screen for general document creation and web-based applications. The letters are spaced for best readability on-screen and in the usual printed body text ranges but are tolerant of tracking adjustment to suit other uses. The styles are divided by width into four families (Compressed, Condensed, Normal, Extended), each family possessing six weights plus corresponding italics. Within each family, the 'regular' and 'bold' weights are style-linked, and all upright forms have an italic counterpart. The full opentype character set includes latin, greek and cyrillic scripts with appropriate local variants (also as stylistic sets) for Turkish, Polish and Romanian (latin) and Russian, Bulgarian and Serbian (cyrillic). All fonts contain small capitals for all scripts, superscript for latin and commonly used greek together with the usual numeral style, size and positioning options. The default numerals are 'proportional lining'. Other opentype features include case-sensitive marks, fractions, and some discretionary ligatures. A set of circled numerals and circled latin capitals is included, along with an unusual feature that composes 2-character country codes.

Hello Everyone.. Introducing a new Font " El Fonte Angelia " Beautiful Serif Type Family is inspired by the serif typefaces used in editorial media in the 70s and 80s.such as the soft and gentle shapes found in Cooper or the fluid, angled strokes in Windsor— mixed into one single design that features familiar, fresh, modern flavors. Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator. El Fonte Angelia variable allows fluid design across 5 weights The font broadens its use by supplying weights all the way from Light to Bold. The natural curves, swells and sloping trunks, grow in character as the font gains weight. Whilst the thinner weights have lowered contrast and optical corrections to create a warm and gentle appearance. El Fonte Angelia character set incorporates additional symbols, stylistic alternates, unique ligatures and case sensitive punctuation - producing a stable workhorse family ready to tackle projects of any size.The type family melds organic curves and gentle repetition into powerful and harmonious type. At large point sizes you can appreciate the letter shapes, whilst the same restraint and focus creates an even texture for small point sizes and long reading. Its variety of weights provide a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines. The available stylistic alternates offer a number of different characters that give your logo or business card a unique look. Check my other Font here : https://gilarstudio.com/ Thank you Regards, Gilar Studio

Vintage, country, distressed or just plain worn out. The Texas general store on the side of the highway that has been there since 1954 and they're still selling old fashion bottled soda. A renovation/excavation at a downtown urban construction site reveals the old ad on exterior brick. Barn Owl provides the headline in your project with the ultimate in aged retro visualization. It is a basic minimal font set which includes only uppercase letterforms. It is a headline font best used above 36 points in size. The first of our “Trifonictype” (Tin Sign is the 2nd) there are three components to the font, Barn Owl Outline, Barn Owl Fill and Barn Owl Shadow. These can be used in different combinations for different effects, copy and paste type then indicate a different font each time. Paste in the front or back in application to see effects in combination. Fill and Shadow could be used with irregular letter spacing for various effects. Outline could be used with just Shadow for a another effect. Use your photo manipulation program to overlay and change the transparency of your headline. There are a few extended glyphs and barn(ding)bats in the lowercase letter strokes indicated in a poster sample, these are found only in the Barn Owl Outline. Download PDF manual for complete showing.

Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The typeface was initially made for use in the branding and promotional material of Lincoln’s new design outfit. This alphabet’s forms are a spin on Bifur, the all-cap deco face designed by Adolphe Mouron (known as Cassandre) in 1929, and published by the Deberny & Peignot foundry in France. Lincoln Electric evolves Cassandre’s idea further by constructing new shapes more in line with minimalist principles rather than art deco geometry — something clearly evident in Lincoln’s minuscules, which exhibit a clear connection to Bauhaus ideas More than 50 years after the typeface’s design, Thomas Lincoln found the original film alphabet tucked away in his archives and brought it over to Canada Type for digital retooling. The result is a modern and thoroughly elaborate set of fonts that belonging prominently in a 21st century designer’s toolbox. The following features are included in Lincoln Electric: • Three fonts for chromatic layering. • More than 1900 glyphs in each font. • Expanded Latin and Cyrillic character sets. • Small caps and Caps-to-small-caps. • Six different sets of stylistic alternates. • Ordinals and case-sensitive forms. For a showing of the stylistic set variations and a sample of demonstration of chromatic layering, please consult this PDF.

Cramble is designed to bring a modern and clean feel. Cramble is a versatile serif with a simple yet elegant approach. Contains uppercase & lowercase characters, all punctuation & numerals. Cramble also features alternative characters to show its uniqueness. Cramble perfect for editorial projects, Logo design, Wedding, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. Happy Designing, Thank You.

Proudly present Purple Sigh Typeface. Purple Sigh equipped with several OpenType. Have 40+unique alternates and ligatures. Comes with alternatives and ligatures, and helps to create stunning logos, quotes, posts, blog posts, branding projects, magazine imagery, wedding invitations, poster and much more. Font Features : Lettres, numbers, symbols, and punctuation 40+ alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Sweet Revenge Is A Modern Family Font Serif Including 8 Font Style. Font Features : Sweet Revenge Thin OTF/TTF/WOFF/WOFF2 Sweet Revenge Extra Light OTF/TTF/WOFF/WOFF2 Sweet Revenge Light OTF/TTF/WOFF/WOFF2 Sweet Revenge Regular OTF/TTF/WOFF/WOFF2 Sweet Revenge Medium OTF/TTF/WOFF/WOFF2 Sweet Revenge Semi Bold OTF/TTF/WOFF/WOFF2 Sweet Revenge Bold OTF/TTF/WOFF/WOFF2 Sweet Revenge Extra Bold OTF/TTF/WOFF/WOFF2 SOFTWARE REQUIREMENTS : Fonts and alternate : No special software required they may be used in any basic program /website apps that allows standard fonts That's it folks! You can go ahead and get cracking :) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Proudly presenting StereoClub, a modern bold typeface. StereoClub equipped with 60 unique alternates and ligatures, to help create stunning logos, quotes, posts, blog posts, branding projects, magazine imagery, wedding invitations, poster and much more. Font Features : StereoClub OTF ( Open Type ) Lettres, numbers, symbols, and punctuation 60 alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin). Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Sonoxa Font was inspired by lettering poster design that i saw on some coffee shop, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. Opentype features Sonoxa font has 191 character set included Sonoxa Font is very good looking in logo, labels, t-shirt prints, product packaging, invitations, advertising and others. What includes * Multilingual support (Western European characters). This fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu.

Proudly present Awake is a classic black letter font with a touch of groovy. Comes with alternatives and ligatures, and perfect for tattoos clothing, labels and packaging, branding, or any Gothic-themed projects! Font Features : Lettres, numbers, symbols, and punctuation 23 alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin). Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Kindly check over on Instagram! https://www.instagram.com/clevustudio/ Have a Good Day !

You may want your designs to look sharp, professional, and interesting without exaggerations, but how would you do it amid the abundance of font options available to choose? Rainbow Night is a perfect answer to your design needs. Rainbow Night is an elegant, prominent display serif font to attract everyone who sees it. A serif font is a font with hooks and tiny scratches attached to the letters’ edges. The huge serif size adjacent to each other in such a font makes the letters look heavier. Moreover, this font is deliberately created in thick lines and strong contrasts as the characters of a display font to produce strong visual displays. Generally, such a display serif font can show elegant, classy nuances to assign a strong identity to the brand, to stand the desired messages out, and to get the messages easily recognized by readers. You can apply this font for various text sizes due to its great legibility. In addition, you can make use of the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rainbow Night fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. 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.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

Riposte is a powerful and carefully-integrated handwriting font. You should use it where you want to create a strong impact but want to avoid heavy, boxy, formal fonts. The characters were designed for excellent letter-spacing without kerning, but you can switch kerning on to add some subtle enhancements to the letter-spacing. Riposte is readable, even at quite small sizes. It was designed to be used as a mix of upper and lower-case letters. Do not make text using only uppercase letters since the spacing of the uppercase letters was optimized for use together with lowercase letters. So remember, when you want your text to have the powerful impact of the master swordsman with his balanced stance and vigorous movement -- try Riposte. The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages. Riposte works well in professional layout application packages as well as in word-processing packages such as Microsoft Word® that do not support professional kerning.

A flare-serif socialite. Elegant and affable at once. Leifa is a flare-serif typeface that strikes a balance between elegant and affable. It’s pleasant to read in text sizes yet takes center stage in headlines and display applications. With its higher-than-usual contrast, Leifa might evoke Didone typefaces at first. However, it differs from strictly Didone designs in the details: flattened serifs and deeply incised, tapered spurs provide an organic effect. These humanist elements are restrained and almost inconspicuous in body copy. It’s in display sizes that they realize their full potential. Set your message in Leifa, set it large, and it will get noticed. A true socialite, Leifa is a most welcome guest on any party. With its dual character and a range of weights that allow for fine-tuning the desired visual voice, it’s a brilliant choice for branding and editorial design. Its good-natured yet sophisticated character makes Leifa the perfect typeface for fashion, sports, lifestyle, social media, food and cooking, health, beauty, architecture, interior design, art, literature, theater, and travel. (And any other topic that you’d love to talk about at a dinner in good company.) The entire font family consists of eight weights. Each comes with an italic counterpart, totaling 16 styles. Leifa’s italics are oblique, optically corrected versions of the upright styles. Each style comprises a character set of 883 glyphs that includes small caps, a set of ligatures, tabular and old-style figures, case-sensitive forms, fractions, symbols, and many other features. Four stylistic sets allow you to adjust the appearance of the Leifa fonts: a single-story a (SS01), a simple f (SS02), a triple-story g (SS03), and thin punctuation marks (SS04) are at your disposal. If you’re looking for a typeface with some debonair spirit, look no further than Leifa.

Introducing Rixiline Script, a unique blend of classic and modern font. imperfect style ups and downs, like a dance letters, smooth, clean and simple. Rixiline Script perfect for wedding, event, invitation, escort card, clothes, display, logos, quotes, slider blog, custom address, stamps, packaging, greeting card, etc. Rixiline Script comes with a complete set of standard characters, eastern diacritic symbols, consist 917 glyphs in total, and alternative characters as OpenType features to play with. The alternative characters were divided into several OpenType features such as Ligature and Stylistic Sets. You can create an attractive message by using the alternate characters in your design. The ZIP file are include the following: Webfont Features Rixiline Script : Basic Latin A-Z and a-z Numbers & Punctutation Symbols Stylistic Set Lots of Swashes, Ligatures & Alternates Script 917 Glyphs PUA Encode (Specially Coded Fonts) Support Latin Pro Character If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. If you have any question, don't hesitate to contact me by email. Thank You