The rather wide, caps-only Monotype Engravers family imitates scripts that evolved from copperplate and steel plate engravers hands of the nineteenth century, which were a quite expressive medium! Monotype Engravers' letters show a strong contrast between thick and thin strokes and have sharply cut serifs. In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman."" Shortly thereafter, American Type Founders, Inc. (ATF) released another successful ancestor of this design in 1902, ""Engravers Bold,"" designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Also made available by Lanston Monotype at the beginning of the twentieth century, the Engravers faces soon became a popular choice for letter heads, advertising and stationery.

Graftyne sans serif typeface with a unique personality. It comes in normal and display alternate, each with 7 weights variable. Graftyne sans serif typeface is flavor in motion and each part of its system works together to captivate you, combining emotion and usability, allowing you to create attractive and unique designs. graftyne is made experimentally following a futuristic style recipe with alternate characters made with inktrap and display that makes this font more stylish and varied. Graftyne is a variable font that has 7 weights from thin to bold. also includes alternates that are more varied with variables. Graftyne sans is a versatile font system, designed primarily for display uses with a need of visual impact. Feature : Alternate Ligature Discretionary Ligature Multilingual Numeral & Puctuation Wish you enjoy our font!

Steal the spotlight with Senlot. A high contrast sans serif, Senlot’s figure is perfect for enrapturing your audience. The font shows off a unique calligraphic stress, which--with the contrast--makes the face quite usable in luxury and high quality design work. The gorgeous appearance of Senlot is accompanied by a complete set of small capitals and a true italic. Dress your text in any of nine separate styles from Thin to Bold. Senlot also holds a full set of OpenType features, including titling capitals, superscripts and subscripts, and oldstyle figures and has an extended Latin cover with span for over 72 languages. A special thanks to Lucas Azevedo and ikern for production assistance on Senlot. Let Senlot’s beauty and simplicity carry the stage on your new text or webpage.

Grange Text is optimised for smaller text sizes, having more open character shapes and spacing. Use the non-text version of Grange for larger sizes and headlines, which has tighter spacing and detailing. Grange is the Device interpretation of the classic “Grot” thick/thin sans style. Unlike the traditional models on which it is based, Grange takes a rational, consistent approach across wide range of weights and widths for contemporary use. The font includes alternative curved and straighter versions of key characters, most obviously the lower-case ‘g' and capital ‘R', allowing the font to take on either a sharper or warmer, more playful appearance. These can be toggled on or off using the ‘Alts' feature in Illustrator, or ‘Stylistc Sets’ in Indesign. Contains proportional, lining and tabular numerals.

Kotomi Display is a high contrast all-caps serif font with an elegant calligraphic touch. Inspired by didones, it features thin bracketed serifs, sleek lines, proportioned curves, angled axis...all, with a sense of fashion. Designed for high end branding, Kotomi Display is intended for large titles and big headers where its sharp and refined finish is particularly appreciated. The font is equipped with beautiful alternates and countless ligature variations that flows in harmoniously to achieve a well balanced combination and a legible composition. With a set of 1414 glyphs, Kotomi Display can serve a wide range of projects from editorial to branding, logos, posters, magazines, blog titles, packaging, wedding invitations, social media and more. Included case sensitive punctuation, numerals, symbols and multilingual support for western, central and south east European languages. Caps Only Fonts.

Black Ridge is a strong and rugged typeface, supplemented by its tall x-height, angled cuts, and quirky curves—all giving it a unique touch of character. It was inspired by the bold, modern, and condensed sans-serif typefaces created by typographic pioneers such as El Lissitszky, Herbert Bayer, and Jan Tschichold of the early twentieth century. This typeface is intended for display headlines and comes with a customary set of Latin characters, including diacritics, accents, symbols, mathematical glyphs, and more. Black Ridge comes in five styles—thin, light, regular, bold, and black—and supports over 80 different languages. Each weight contains a set of alternate glyphs and discretionary ligatures specially designed for better spacing and aesthetic enhancements for the more awkward character pairs such as fi, fl, rv, TY, FT, and more.

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.

Jengotan is a rapid script, hand-painted with a brush to give a great contrast between thick and thin curves. It is drawn, scanned and vectorized from paper to screen, with the intent of being an authentic brush typeface, leaving the texture and imperfections the way they are, resulting in a vivid style for projects that requires dynamic handwriting. Use [ ] { } < > anywhere in a word to create a swash. Example: Jeng{otan In addition to the Jengotan font, also included is the Upright variation. The lettering is suitable for quotes, logos, watermarks on photography, signatures, branding, advertisement, album covers, business cards, clothing, magazines, posters, and more! It is a font of very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

About this font family Midmoon Gothik was designed for typesetting magazines and information-heavy publications; using simple, clean letterforms for clear communication but with enough character to make it enjoyful. The new lighter weights are a nice addition to the set allowing for finer control over the texture of the page. Features 4 weights; Hairline, Thin, Light and Regular. Multi language Ligatures: fi fl ij ffi ffl fb fj ff fk fh Numerals: tabbed lining, proportional lining, proportional oldstyle Fractions: ½, ¼, ¾, ⅛, ⅜, ⅝, ⅞ Symbols: ¶ § © ® ℗ ™ ° † ‡ ℮ ¢ ¤ $ € ₣ ₤ ₧ £ ₽ ¥ Maths: ⁼+−×÷=≠> Arrows: ↑↗→↘↓↙←↖↔↕ Capital spacing To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. Designed and published by Andy Peat. www.andypeat.com Released October 2022

Hucks Serif is a contemporary serif typeface that seamlessly incorporates large open counters and gracefully curved and rounded forms, resulting in a glyph set that exudes a modern and elegant aesthetic. The pronounced contrast between thick and thin strokes imparts Hucks Serif with a harmonious and stylish appearance. Meticulously crafted to infuse letterforms with an inherent elegance, this font lends a distinctive style and atmosphere to every project it graces. Its versatile nature makes Hucks Serif particularly well-suited for many applications, including but not limited to editorial, headlines, large-format prints, brand identities, social media graphics, advertising materials, editorial designs, posters, magazines, logos, headings, and more. The adaptability of Hucks ensures it can effortlessly enhance the visual appeal and impact of a diverse range of creative projects.

Peckham, designed by Daniel Hernández, is a contemporary and versatile slab serif of 8 weights (and matching italics)—ranging from an elegant Thin to a heavy Black—with strong serifs that give it a playful look while preserving the overall geometric structure of the font. Peckham comes with the standard Latinotype set of 395 glyphs resulting in a language support for 94% of the languages using the Latin alphabet. The font also includes stylistic alternates (A, R, Y, a) which provides extra versatility. The name of the font reminds us of the city that witnessed the birth of Vincent Figgins (1766). Figgins became known as the type designer who first included slab serif fonts in a commercial catalog. Peckham pays homage to classic typefaces yet looks very contemporary. Digital editing and corrections by Alfonso García.

Foncy Serif features open, ligature and alternative types that are packaged in 3 fonts: Regular, Italic and Bold. Foncy fonts include uppercase, lowercase, numbers, punctuation and multilingual support. Foncy Serif is an elegant and unique serif font, thin yet impressive. Expertly designed to make your creations look amazing, this font will look beautiful and impressive with a variety of characters to display and is perfect for use on various ideas such as Editorial Projects, Logo Designs, Weddings, Clothing Branding, Product Packaging, Magazine Headers or simply as a stylish text overlay for any background image which will make your presentation more stunning and stand out. Foncy Serif also supports Multi Language and is PUA encoded !! Give us "likes" and support our work. Thank you very much. Have a nice day and Enjoy!!!

BAMBOLA, Script put out by EdyType. Almost formal script, that gained a little weight. but she is taking care of that. BAMBOLA, a real doll, wants to be loved, she is trying hard to be popular. Is very conscious of her beauty, but trying not to be a show off. She'll be at ease in any place where normal faces gather, unpretentious, yet with a touch of class. Born to be readable, it’s ideal for packaging headlines and editorial work. Not thick, nor thin, just the exact weight, makes a good pattern at large texts, and reduces with no problems, her voluptuous initials makes it stand out always. A real romantic face, it belongs to the fashion world, where she’s come from. A real hip chick, she’s got what it takes!

Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography. Although it draws inspiration from some cold type ideas, like the uncredited Atlantis from VGC and a couple of older photo-lettering faces, its overall expression is right in line with what has become today's vernacular in integrity organic display packaging. Pipa's construct approaches the thick-and-thin idea from a rarely used perspective, where the flow in form contrast naturally seeps out from within each stroke, while minimizing the amount of strokes helps the totality of the setting come positively alive. This is bead and lava lamp psychedelia for the 21st century. Pipa comes with plenty of alternates, including some very cool unicase variations, and extended Latin language support.

The superfamily Pepi and Rudi is based on playful experimentation with basic geometric shapes - the circle, rectangle and triangle - elements that laid the foundations for typographic Modernism. The Pepi and Rudi introduces a number of current elements into a time-proven concept of primitively constructed typefaces. The typeface's somewhat uniform character width establishes a more regular rhythm; the character set is expanded, and legibility is improved thanks to taller lowercase. A wide range of ten styles, from hairline-thin to extra-thick with adequate Italics allow for universal use across the whole scope of graphic design. Carefully designed diacritics, clear punctuation marks, table number characters, ligatures, arrows or alternative lowercase characters are standard; this is sure to please everyone needing to work effectively with a neutral, geometric headline typeface.

HS Aleman is a modern OpenType Arabic Typeface. It is a modern Kufi / Naskh hybrid and keeps the balance between its construction and its flexibility in the transition between the thick and thin parts and it also contains a harmonious smooth curve at its parts in all characters, numbers and marks. This font contains some extended characters (swash), some variants of some characters (Stylistic Set), which gives the user some flexibility in using some characters. The font weights are refined with enhanced legibility and are ideally suited to advertising, extended texts in magazines, newspapers, book and publishing, and creative industries, meeting the purposes of various designs. This typeface supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu variants and it is available in '''five weights: light, regular, medium, bold and black.

Jiho Soft Family is a modern & soft sans-serif typeface that is clean, simple and highly readable. It is the rounded version of Jiho Family. Letters in this type family are designed with minimal & modern shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Jiho Soft is versatile type family of 18 fonts. Jiho Soft family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions, old style-figures and case features. We highly recommend it for use in signage, books, web pages, screen displays, and so on.

Circe™ is a geometric sans-serif with some humanist qualities. It consists of seven weights from Thin to Extra Bold in both Normal and Italic styles. Circe, like the Greek goddess it is named after, is capable of metamorphosis. While being clean and simple in its basic form, Circe can become intricate and fancy with its numerous decorative glyph variations. The extensive character set provides support for almost all European languages based on Latin and Cyrillic scripts. Abundant alternates and swash variants organized in stylistic sets inspire creative design options. Circe is good for small point size paragraphs as well as for headlines and posters. The typeface was designed by Alexandra Korolkova and released by Paratype in 2011. The Italic styles were added in 2018 by Alexandra Korolkova and Maria Kharlamova (Selezeneva).

Lina round is an Arabic typeface from Lina type family, it has an expressive character with its round and friendly shapes. It's Round, legible, Clear, Flexible, Simple, Modern. With a handful set of OpenType features and alternatives. Lina type family consists of Lina soft, Lina sans, Lina round. the design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Lina round was highly crafted in order to perform well both on screen and in print. The large x-height and open counters make it function well even on small font sizes. It has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Lina round consists of 7-weight versions from thin to bold.

Introducing Mathery Typeface Mathery font is designed with a modern concept that is simple and dynamic. The serif style adopted by the Mathery font is a 2022 style font, has a unique swash alternative, has a large selection of ligatures. In addition. Serif typefaces such as “Mathery typeface” are very easy to apply to any design, especially those with an elegant and playful concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Mathery typeface contains 806 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from thin to heavy. In the poster preview all the letters are in the Mathery typeface.

Liebling (in English: Sweetheart) was developed according to the sans serif font Mein Schatz with the purpose of having two typefaces which match perfectly. The contrast between thicks and thins was set very low. Just enough to contrast with same-weight Mein Schatz. One of the typeface’s characteristic features, also like its partner, is the availability of ligatures within an expert set. Liebling offers the characters sh, sp, st, ty among others and alternative letters for v and w. The majuscules of the expert set have curved elements allowing the designer to put the typeface to a highly individualistic use for displays and headlines. Another feature of the typeface are two different figure systems. In addition to the old style figures for use in continuous text, Liebling offers regular table figures within the expert set.

Razom Script is a typeface with deep roots in pointed brush calligraphy that takes advantage of current font technology to go beyond handwriting and reach new limits. A successful blend between printed and handwritten letterforms is visible when comparing upper and lowercase. The weight of the typeface evolve in a way that pushes the limits of a script typeface to suggest new uses. Normally, families are developed in weights, not proportions. Also, having several weights in a script family is rather rare. But in Razon Script, as the fonts gain weight, big differences show up in the font outlines: the thin weight looks soft and delicate but as we examine darker variables, they also seem to get broken. The counters of the letters rotate from vertical to horizontal during this process.

Haboro is a powerful workhorse. It’s a neoclassical font developed for numerous uses, ranging from editorial and corporate to web pages and apps. This new face from insigne Design takes a modern twist on the high-contrast typeface genre known as the Didone. Recognized for their ability to convey clarity, the geometric simplification of the Didone genre adds a level-headed rationality to whichever work it’s applied. Didones are used to lend style and sophistication to a wide number of applications—everything from style or cosmetic labels to annual reports. With its unique take on this classic genre, Haboro—with its slight wedge-shaped serifs and unique terminals—is still defined by elegance, tradition and timelessness. Even more to its versatility, this multi-purpose text face features whimsical terminals, which liven up even the most serious texts. If you desire, you can also opt for the more usual ball terminals by activating OpenType alternates. The Haboro family consists of seven weights from a Thin to a Black along with matching italics. The contrast from the letters’ thick strokes and thin strokes draws the eye to your design, making Haboro a powerful visual tool for communicating your message. The typeface also contains numerous ligatures and alternates. Choose between serif variants such as ball terminals or standard serifs by utilizing OpenType alternates. We recommend using the default contextual alternates and discretionary ligatures in order to benefit from all members of this fantastic font family. In addition, Haboro has a sizable set of option glyphs and numerous other OpenType variables to give your text the unique touches it needs. Haboro has all of the attributes you need to undertake your next project. Use its modified elegance to shape and mold your next design, whether a web site, app, branding package, or magazine. You’ll find there’s no job Haboro can’t take on.

Did your client just say ‘can you make it pop’? Then you already know you got it on lock. Introducing: Midnight Diner! A multi-layered dimensional script font family featuring thin, bold, outline and shadow capabilities, with a left-leaning slant to boot. You can experiment with various layer combinations and colour! How fun is that? Being effortlessly casual, retro and elegant all in one, you can play it up or down to your liking – perfect for display graphics, logos, signages, packaging, lifestyle imagery, invitations and more. It features a diverse range of stylistic alternates, contextual alternates, and standard ligatures, ensuring that you’ve countless options to choose from for your design work. This font family is delicately crafted and well thought out with every little detail in mind, to ensure its ease and versatility when used! Midnight Diner is a collaboration between lettering artist and calligrapher, Leah Chong (www.leahdesign.sg) and typeface designer, Roland Huse (www.rolandhuse.com). Product Content: Midnight Diner Layered Font - Thin (TTF) Midnight Diner Layered Font - Bold (TTF) Midnight Diner Layered Font - Outline (TTF) Midnight Diner Layered Font - Shadow (TTF) Font Guide PDF https://drive.google.com/file/d/1KPSf-gGrhX3wyaImEAmlJICERNbxu2IN/view?usp=sharing Font Guide Youtube Video https://youtu.be/GtZ8E7Y7wnQ 6 Bonus SVGs (TTF): Midnight Diner SVG - Red Yellow Midnight Diner SVG - Black Pink Midnight Diner SVG - Blue Green Midnight Diner SVG - Orange Yellow Midnight Diner SVG - Purple Pink Midnight Diner SVG - Black White Font Features: Latin character set: Uppercase & Lowercase A - Z Stylistic Alternates Contextual Alternates Standard Ligatures Numerals, Currency Symbols & Punctuation Accented Characters To access all features of Midnight Diner such as stylistic alternates etc., it's highly recommended to use professional design software such as Adobe Illustrator, Adobe Photoshop, Adobe InDesign or Procreate (via the ‘add text' feature).

Serling Galleria is a classy, classic serif font that exudes an air of fine art and high-end creativity. With its clear, legible letterforms and modernist inventiveness, Serling Galleria brings a touch of strict creativity to your designs, making them stand out in sophistication. This versatile font family is perfect for projects that require a refined, elegant aesthetic. With its variable font feature, you have the flexibility to fine-tune the font to your specific needs and create a truly bespoke typographical experience, or use the pre-defined font styles: Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic The diverse styles in the Serling Galleria font family provide unmatched versatility, allowing you to adapt your typography to various design contexts and moods seamlessly. With this array of weights and styles at your fingertips, you can effortlessly create a visual hierarchy, emphasize key elements, and establish a cohesive, engaging design language across your creative projects. Also includes a variable font! Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. Built with advanced OpenType functionality, Serling Galleria ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs truly unique and tailored to your needs. Serling Galleria offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

Brown Hunter Inspired by the design style of the 1830s, the elegant Victorian style design is full of charming sharp curves. Designs with a classic Victorian style from the cruel era, people always use it for redesigning needs or creating new designs. The Brown Hunter typeface is designed in an elegant Victorian style which contains many font characters which when combined will make an attractive design and of course very cool. Included in the download package are: Brown Hunter Vic, which is a classic Victorian serif style and contains swash and alternatives, there are two types of Brown Hunter Vic, the standard one and the hold one, which contains ornaments on the inside of the body. Brown Hunter Script is an elegant street writing style made with spontaneous and sharp brush strokes giving a bold impression. Brown Hunter Dis is a Serif display style font that is intended for subtitles in designs, besides this font has 13 families from thin to heavy. Brown Hunter Black is a font with a charming black letter style and is still comfortable to read when used for body text in a classic Victorian style. This font also has 13 families from thin to heavy so it can be used for headers or body text. Brown Hunter Ornament is a font made with a unique orament shape in the classic Victorian style, besides that there are also border frames, animal vectors, silhouette logos, flowers and many more. With 4 styles and 30 different fonts, the Brown Hunter typeface when combined will create a cool design and a Victorian concept. By collecting Brown Hunter Typeface you can easily create classic, Victorian and elegant themed designs. Brown Hunter is perfect for designing vodka labels, beer, pomade, logo tattoos, book covers, t-shirts and so on.

Leroy is a font family of 5 members designed from geometrizing Roman and Gothic skeletons. Its purpose is to provide optimal reading of titles and paragraphs with strong mechanical flavor. Because of this, its variables are designed to sort information in media such as labels, signs and industrial atmosphere packaging related with the Soviet Union’s fonts in 1920. This idea matured white horizontal lines superimposed on alphabets drawn with an ancient architectural team known as “Leroy K & E Controlled Lettering System”. Then that evolved into a family concept unifying its proportion to the same X height for its members, resulting in a versatile type system. Therefore, Regular and Bold variables have low contrast between thick and thin strokes. Its upstream and downstream are extremely short, generating a suitable interline that clogs the vertical area. Its overall width equal to its X height, supports its tight spacing that compacts the horizontal area. Therefore, the variant with black caliber has plenty of contrast between thick and thin strokes. The light variable has a “blind” effect radiating light halos, ideal to propose hierarchies and combinations with orthogonal projection. In that sense, Leroy’s modular character reminds constructivist ideology merged with typographical variants suitable for graphic design with geometric look. To achieve this, I studied the softening of forms and counter blocks into a typographical system specially designed for composing useful information to attract attention. In that sense, the dingbats were obtained through a careful process of research and testings done with drawings that provided full and empty visual strategies that with the passage of time helped to forge the major decisions of a metamorphosis from industrial tools, birds and humans from pictogram mixing various genres.

Kayto Script is the second collaboration of Erwin Indrawan as the calligrapher and Dexsar Harry Anugrah of Majestype as the typeface designer. Today the resurgence of calligraphy has reached the summit, with social media as the vehicle, we are now familiar with many styles of calligraphy. One of the popular styles is brush lettering, especially the pointed brush calligraphy. Kayto Script is an exploration in pointed brush calligraphy. It’s an interpretation of modern brush calligraphy that combines cursive writing with the East Asian calligraphy flair. Kayto is made with a real brush and held perpendicular to the paper so the brush can twist and turn freely to follow the movement of the hand. This technique gives a natural gesture and energetic look to the strokes. Kayto has a unique rhythm of brush pressure to generate the thick-and-thin strokes... the beating heart of brush calligraphy. Instead of the mechanical thick-and-thin strokes like the regular calligraphy, Kayto is written with a lot of variety of pressure that is somewhat melodic but still conform with the discipline. The result is a script that feels personal and characterized with lively energy. And just like handwriting, every letter in Kayto script is crafted with many varieties of glyphs and ligatures to make an unlimited combination of personalized lettering. Because of its natural letterforms, Kayto Script is best suited to complement anything that is earthy or has nature as the ground. Erwin, the calligrapher, has used Kayto in many of his watercolor illustrations. Another ideas are wedding names on invitations or place cards, logo for any natural products, inspirational quotes, business cards and the list goes on... but in the end, if you wish for something personal and truly one of a kind then Kayto script the one you want. Also, Kayto offer a free version called "Kayto Doodles" designed by Adiet Pramudya.

Having spent all of my teenage years in the 90s, it's no surprise that this very particular decade resonates so deeply in me. As a graphic designer, I still think the strongest visual languages of the last 50 years or so come from that time. Bold aggressive attitude is what most people remember from those designs. What they seem to forget—or, rather, to have completely ignored—is that some incredibly elegant and subtle styles emerged from those years. It still amazes me how they reflected so well the period in which they were conceived, taking style construction to the next level. Riff is a natural development of some of my thoughts about the 90s. Mixed with a very contemporary feel, it embodies several idiosyncrasies I absorbed over years of exposure to favorite design pieces, fonts, music, films and other cultural products that share the same spirit.

I've always loved drawing faeries and I love using them in my scrapbooking pages. So after hunting around for a unique decorative fairy font for my crafts I couldn't quite find what I wanted to use, so I decided to create a whimiscal set of fairy drawings and characters that would suffice. I was influenced in the drawing of the fairies by my love of the 3D poser graphics art,several awesome comics, Alphonse Mucha and several Masters of Art. I couldn't really say what influenced me to draw the letter charaters as I did except I just sat down to draw and they appeared on my blank photoshop canvas. These decorative Fairy Uppercase letters would be great to use in fabric crafts,textiles, embroidery patterns, scrapbooking, greeting cards, Rubber stamps, name titles, Calligraphy, the possiblities I feel are endless when thinking of craft applications.

Despeinada, which means "uncombed" in Spanish, is a loose script, perfect for when you want to convey informality. It'll look good in a long text, or when a few rough and spontaneous word are needed... Being a packaging designer, my faces are mostly oriented toward that sector, although they won't look in any way out of place in the editorial world or in advertising, for example. This face was generated in the University of Barcelona Master of Typography, in 2010, where I dictated the “Practicum” It's a very versatile design that can be used in small sizes or enlarged as needed. It won't deceive you! I think that this particular face is halfway between Mistral and Zapfino: rough but clean at the same time. None of its glyphs follow any order, nor do their weights... In short, if you start writing with Despeinada you won't want to stop.

Ready to release your inner urban planner? Next time you need to lay out some buildings for an illustration, use LOLO City. The concept for LOLO City originates partly from my childhood, spending many hours playing a city simulation game, and also from my schooling -- which included architectural drafting and civil engineering studies. The building designs themselves are largely from my imagination -- but much inspired by architecture seen in my travels around Canada, America, Thailand, and Japan. The zoning of LOLO City is easy to remember, so you won't get lost in its streets: Small Letters (a-z): Light Residential(a-m), Light Commercial(n-t), Light Industrial(u-z) Capital Letters (A-Z): Dense Residential(A-M), Dense Commercial(N-T), Dense Industrial(U-Z) Digits, Shift Digits & Punctuation: random extras, small utilities (cars, trucks, traffic signals, park bench, etc.) Whenever you need a prefabricated city design --- think LOLO City!

My wife name is Yasemin. After building this typeface, I wanted to honor with my wife’s name. I think I fully reflects the character I created in my mind. I created ornaments and connected glyphs. Yasemin is an OpenType font that contains 1045 glyphs. Ligatures, alternates, starting, endings, a wide range of latin languages and a set of ornaments. And words specially designed to use in advertising slogan, stationery for weddings, birthdays, etc. TIPS: Try using Yasemin at a 20º angle so that the slanted strokes, ornament become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL: It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words. UPDATES: - 3 December 2015 Opentype Feature (fractions) update. - 20 March 2019 Opentype Feature (fractions) update. Some bug fixes.

This four-piece family is the DIN design, but not as you know it. The famously, crisp, clean and precise typeface has been given a textured update that's reminiscent of rusted metal, or rubber stamps. Underneath this lies the same sturdy, geometric shapes that have allowed DIN to stand the test of time, but with a new sense of tangibility. “This kind of treatment is more about creating a feeling or a mood that goes beyond the communication of the words themselves,” explains Monotype Studio director Tom Rickner. “I think it expands the repertoire of what DIN Next can express.” Designed for display, these four typefaces – DIN Next Rust, DIN Next Shadow, DIN Next Slab Rust and DIN Next Stencil Rust – show a new side of DIN Next's personality, as if the surface of each letterform has been gradually worn away over the years.

Patent Reclame manages to be light-hearted, while clearly showing its blackletter roots both in the shape of the individual letters and the rhythm of text on a page. The designer is unknown. Schriftgeisserei Flinsch of Frankfurt a.M. cast the face around 1895. Nicolete Gray shows a quite similar face called “Graphic,” from Stephenson Blake in 1896. Personally, I don't think that Patent Reclame looks like an English design, but I do not have any proof one way or the other. The numbers are proportional, intended for posters, not spreadsheets. Two ornaments are included, an art nouveau rose at #172 and a lilypad with long tendril at #177. Great for invitations, posters and flyers announcing fun events. Do not use for obituaries. Quite readable in smaller sizes for short blocks of text. I really like the buoyant quality -- a nice combination of discipline and enthusiasm.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

Fonts are Inhuman and Human Fonts are IN! Now, the Comicraft Cybernetics Corporation is proud to announce the first in a new line of fonts with GFP... Genuine Font Personalities. Paranoid Android is an outer alloy, inner void, solitary solenoid GFP prototype -- you can tell, can't you? Finally a font that knows its place as a digital servant to the human race. What will Comicraft think of next? No, don't bother to answer that, Comicraftsmen are fifty thousand times more intelligent than you and even they don't know the answer. Warning: Nothing left to be enjoyed, every diode rheumatoid*, terminally Paranoid Android is not so much a font, and more a kind of electronic sulking device. Share and Enjoy! *The moving parts on the left side of this font are in a solid state. It may sit in a corner and rust, or just fall apart where it's standing.

BeachBar is a modern bold script with a sunny mood. It is inspired by, well, Beach bars, the summer and the sea, the hot afternoons with a cocktail in your hand and the sound of splashing waves. Beachbar turns our love for summer into a dynamic and vivacious font that comes in three different styles to choose from: BeachBar (connecting small letters, disconnected basic caps, ideal for text), BeachBar Alt (all letters are disconnected) and last but not least BeachBar Script (connecting letters, script-like caps and a bold set of swash capitals for more eye-catching designs). All three styles come in six weights making the font versatile and useful both for web and print; think websites, posters, menus, logotypes, cards, signage, packaging and whatnot. BeachBar is friendly, sturdy and it makes a statement, but most of all, it is fun to play with.

I've always loved drawing faeries and I love using them in my scrapbooking pages. So after hunting around for a unique decorative fairy font for my crafts I couldn't quite find what I wanted to use, so I decided to create a whimiscal set of fairy drawings and characters that would suffice. I was influenced in the drawing of the fairies by my love of the 3D poser graphics art,several awesome comics, Alphonse Mucha and several Masters of Art. I couldn't really say what influenced me to draw the letter charaters as I did except I just sat down to draw and they appeared on my blank photoshop canvas. These decorative Fairy Uppercase letters would be great to use in fabric crafts,textiles, embroidery patterns, scrapbooking, greeting cards, Rubber stamps, name titles, Calligraphy, the possiblities I feel are endless when thinking of craft applications.

My son’s name is Ata Caner Yüksel. After building this character, I wanted to honor him by using his name for this font. I think it fully reflects the character I created in my mind. Ata Rounded, only one of the four other deep end with rounded corners consist of sharpened flat plate. Matched to one another and are optimized for screen. The family, with eight weights plus matching italics, was designed by Bülent Yüksel in 2016. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, way-finding, and signage, as well as web and screen design. ATA provides advanced typographical support for Latin-based languages. Case-sensitive forms, classes and features, small caps from letter cases, fractions, superior, inferior, denominator, numerator, old-style figures, stylistic alternates; just one touch easy In all graphic programs. You can enjoy using it.