Gotika, designed by Mans Greback, is a collection of blackletter fonts that masterfully blend Gothic influences with modern sensibilities. Comprising Gotika Black, Gotika Strict, and Gotika Ornament, this font family showcases the craftsmanship of calligraphy and the elegance of the medieval era. Gotika Black is a bold, street-inspired typeface, while Gotika Strict combines the historic charm of blackletter calligraphy with geometric precision. Gotika Ornament is a decorative font with Middle Ages-inspired floral designs, perfect for creating intricate and eye-catching visuals. Each font within the Gotika family is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. The family has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Mans Greback is a Swedish typeface designer, dedicated to crafting diverse and versatile fonts. With a passion for design and typography, he has developed a broad range of fonts that are utilized by designers around the world.

The retro-inspired design of Aviano Copper echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

This script font was inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae [...], author Francesco Filfelo, circa 1509. The original font contains all lower case characters, except w, eth, thorn, lslash, oslash and so... and almost upper case. In addition, one set of small lombardic initials were also nearly complete. It take place instead of the Bold style (in only one package)offering a real and rare complete historical printing set... The original small "a" hight was 2,8 mm !, the upper case hight no more than nearly 5 mm, the initials hight almost 15 mm, covering nearly two lines. This font includes "long s", naturally, as typically medieval and also a few ligatures, but not any variants. We have entirely recreated some characters, upper, lower and initials, to fill gaps. It is used as variously as web-site titles, posters and fliers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, menus, certificates, as a very decorative, elegant and unusual font, besides its historical scrupulous reality... This font supports enlargement as well as small size.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. Bunken Tech Sans follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 10 styles with widths ranging from Light to ExtraBold with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) and standard (Std) edition with a reduced range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 12 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.

Digital Sans Now combines and completes the many diverse requests and requirements by users of the past years. By now, 36 versions for over 70 Latin and Cyrillic languages have become available, including Small Caps. Digital Sans Now is also available as a webfont and reflects, with its simplified and geometric construction and its consciously maintained poster-like forms as well as with its ornamental character, the spirit of the decorative serif-less headline typefaces of the 1970s. The basic severity of other grotesque typefaces is here repressed by means of targeted rounds. Exactly these formal breaks allow the impression that it could be used in a variety of visual applications. Short texts, headlines and logos of all descriptions are its domain. It is because of this versatility that the typeface has become a desirable stylistic element, especially in such design provinces as technology, games and sports, and that, for many years now, it appears to be timeless. Additional weights designed on the basis of the original, from Thin to Ultra, the Italics, Small Caps and alternative characters allow for differentiated “looks and feels”, and, with deliberate usage, give the “Digital Sans Now” expanded possibilities for expression. The basis for the design of Digital Sans Now is a headline typeface created in 1973 by Marty Goldstein and the Digital Sans family which has been available from Elsner+Flake since the mid-1990s under a license agreement. The four weights designed by Marty Goldstein, Thin, Plain, Heavy and Fat, were originally sold by the American company Visual Graphics Corporation (VGC) under the name of “Sol”. Similarly, the company Fotostar International offered film fonts for 2” phototypesetting machines, these however under the name “Sun”. The first digital adaptation had already been ordered in the mid 1970s in Germany by Walter Brendel for the phototypesetting system Unitype used by the TypeShop Group, in three widths and under the name “Digital Part of the Serial Collection.” Based on the versions by VGC, Thin, Plain, Heavy and Fat, new versions were then created with appropriate stroke and width adaptations for data sets for the fonts Light, Medium and Bold as well as for the corresponding italics

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

Useful links: Using the variable font in Illustrator Working with a variable font in Photoshop TT Frantz is an experimental variable font, distinguished by its slimness and lightness. The variation in the font affects the change in the height of the mean line - by moving the axis adjustment slider you can easily raise or lower the mean line of the font. In TT Frantz, you can find small references to the art deco aesthetics, which are expressed in significantly lowered or, conversely, heightened waist of the letters. In addition, depending on the position of the axis adjustment slider, the closedness of the aperture changes for some letters. In order to preserve the main feature of the font—the change in the height of the main line—we made lowercase characters as tall as uppercase ones, but at the same time we kept small kerns. An interesting fact is that in Cyrillic letters з с а е, the variability of the aperture follows a different scenario in comparison with their Latin sisters. When working on TT Frantz, we tried to make it so that when changing the variability, the width of the characters would not change, and the font would remain monospaced. And in order to avoid holes in the set, we made contextual alternates and several ligatures. Frantz consists of 470 glyphs, and in addition to broad language support (Latin and Cyrillic) it can offer standard and old-style figures, including their tubular versions, as well as ligatures. Important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/ But do not despair—even if you do not have access to the necessary software, you still have the opportunity to use TT Frantz in your projects. Especially for you, we have prepared three separate non-variable styles (Frantz A, Frantz B, Frantz C), each of which is responsible for a certain location of the mean line of the font and where this line is already fixed in a certain position (high, medium and low).

TT Hazelnuts useful links: Specimen PDF | Graphic presentation | Customization options About TT Hazelnuts: TT Hazelnuts is a display sans-serif font family containing a set of elegant and delicate decorative elements. Initially the family was designed for highly specialized areas, but we've decided to extend the number of typefaces and to make the family more universal. Despite its geometric essence, TT Hazelnuts reflects a touch of human hand—you can take a calligraphic tool and, by turning it, draw pretty much the whole font. TT Hazelnuts font family is perfect for small text arrays, for instance, for fashion or advertising industries, and will also fit perfectly into layout of longer and more complex typographic systems thanks to a large variety of font weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Black, Heavy) and its true italics. It has already become a good tradition to include broad support of OT features into our new fonts. TT Hazelnuts is not an exception, it uses a large number of useful features: ordn, sinf, sups, numr, dnom, tnum, onum, frac, case. FOLLOW US: Instagram | Facebook | Website TT Hazelnuts language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Because you demanded it, the Aviano series is back with a variable version of the futuristic sans serif Aviano Future. Aviano Future’s strong letterforms will make you look like a rock star. Aviano Future Variable is a medium-contrast sans serif titling face that has a bold and futuristic look. It has a bowed square shape which gives it an interesting appearance that is both unique and eye-catching. Given that it has a variable axis any weight can be selected with no loss of clarity or legibility. Aviano Future's expanded forms give the letterforms heft and intensity. Aviano Future is a powerful yet adaptable title face that builds on the award-winning traits of Aviano and elevates them. Aviano Future Variable contains a ton of OpenType capabilities and comes in ten different defined weight instances with "fast" italic forms for emphasis. Want to use more traditional rounded forms? Need swash forms? Art Deco alternates? Aviano Future includes 400 alternate characters. Twelve style sets are available, two sets of art deco inspired alternates, small forms, tough swash, constructivist titling and traditional stylistic alternates. Aviano Future also includes 40 discretionary ligatures for artistic typographic compositions. Additionally, there are glyphs in this family to accommodate a variety of languages, and Cyrillic support was added in 2022. An extensive selection of sans serif typographic systems can be found in the Aviano family. The typefaces can be used alone or in combination to suit the needs of any project. The family's fonts have all been meticulously designed to assist ensure maximum impact and usability at any size. Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Copper, and Aviano Slab are presently part of the Aviano collection. A skilled designer who wishes to create a technological, futuristic, or epic design should consider Aviano Future. Aviano Future Variable will make your design stand out from the competition, regardless of whether you are designing a logo, poster, flyer, website header, or banner ad. Why wait? With the exciting and versatile Aviano Future Variable at your disposal, reach new heights and create a brand that stands out from the rest.

Above the Beyond is a font family that contains a high contrast Contemporary Garamond Serif and a Casual Signature Brush script. The serif comes in two styles - Regular and Italic - the italic angle is similar to the one used in the Script font. The main difference between traditional Garamond and Above the Beyond Garamond is that the ascenders are significantly shorter which makes the serif fonts more suitable for branding design and helps to reduce the distance between lines without scarifying the legibility. The Italic style has many stardard ligatures as well as calligraphic ones. Above the Beyond Script is full of OpenType enhancements such as ligatures and alternates - everything that is needed to create an organic handwritten look. It is fully unicode mapped and can be used in any software - either using OpenType panel of the application in use or your OS default Font management software - Character Map or FontBook - by copy-pasting the glyphs you need. The font family is perfect for all kind of designs: quotes, t-shirt, branding, social media, magazines, cards, packaging etc.

Are you looking for a unique signature font to show your style? We have the right signature font for you. This is the Signatires, our signature font to help you create a visually amazing signature. This font is carefully designed to express elegant, dazzling characters which also helps you deliver your messages easily. Signatires’ contrast is high with swinging end wipes. Furthermore, its legibility is so great that it is suitable to apply for any text sizes. You can enjoy the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Signatires fits best for various design projects, such as brandings, posters, banners, greeting cards, 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.

Golestan is designed by Naghi Naghashian. It is a Font family, in 2 weights, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Golestan design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Golestan’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Golestan was developed for multiple languages and writing conventions. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Happy Ramadan is a delightful display font that captures the spirit of the sacred month with a touch of playfulness and warmth. Happy Ramadan is not just a font; it's a celebration of the Ramadan spirit with a playful twist. It's a versatile choice to convey cultural richness, joy, and a welcoming atmosphere. The characters in Happy Ramadan are crafted with soft, rounded shapes that evoke a sense of joy and friendliness. The font's letterforms resemble bubbles, creating a unique and whimsical appearance that adds an element of fun to your text. In addition, you can also enjoy the features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Happy Ramadan fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. 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 Special creative products for you, our products will give you an extraordinary experience that will not be forgotten. Balister A popular and professional Handwritten font. Modern and elegant, this typeface is made of beautiful creative strokes. Balister This font is perfect for your creative ideas, both formal and informal. It has a modern style with a touch of creative ideas that is very suitable to be applied anywhere that requires creative ideas such as invitation cards, letterheads, website logos, social media, banners, advertisements, brochures, packaging products, leather products, and any product that requires writing. By using this font, all of your products will look luxurious, elegant, and attractive, please try and see the results. This font includes a complete set of beautiful upper and lowercase letters, numbers, a wide variety of punctuation marks, and ligatures. All lowercase letters include a start and end, providing a realistic style. everything you get. Encoded PUA Character – Can be accessed completely without additional design software., Please note that Stylistic Alternates will require professional design software such as Adobe Illustrator, Photoshop, InDesign or Inkscape. Thank you...

Introducing The Lamontrush, a playful and elegant classic typeface. It has a unique and different style and will give your design a classic touch. The Lamontrush is perfect for logos & branding, photography, watermark, social media posts, advertisements, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need handwriting taste. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

Introducing Fiasco Script, a bouncy modern calligraphy font. Fiasco is a clean cursive font with a feminine aesthetic, making it a perfect choice for designing feminine logos & branding, cute paper products like wedding invitation suites, or for displaying headlines on your website. Fiasco can also be used for other print design like magazines and flyers or printed marketing materials. This font can also be used for digital marketing materials and social media items! Fiasco Script’s clean edge makes it a great candidate for craft projects on your Cricut or Silhouette machine; it cuts beautifully! Fiasco Script includes: - full upper + lowercase characters - numbers + punctuation - 2 ligatures — ox, tt - PUA-encoding Extensive Language Support: Western European, Central European, South Eastern European, South American, Oceanian, Vietnamese, Esperanto Fiasco Script can be used with graphic design programs such as Illustrator or Photoshop, word processing programs like Pages or Word, Design Space for Cricut, Silhouette, Procreate, Canva Pro, Glowforge, GoodNotes, & more. This font is an installable for desktop & laptop machines, as well as iPads or iPhones. See below for links to help with installation.

Annyeong welcomes you with a display font that captures the essence of Korean vibes. This display is a celebration of the dynamic and inviting nature of Korean design. It's a versatile tool that allows you to infuse your projects with a sense of cultural richness and visual impact. The characters in Annyeong are generously sized, ensuring a powerful and visually striking impact. The bold weight adds a sense of solidity, embodying the strength and confidence found in Korean aesthetics. Infused with Korean vibes, Annyeong brings a touch of cultural richness to every letter. In addition, enjoy the features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Annyeong fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. 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.

Alone Together Script is a tattoo style typeface created and inspired during quarantine times. It is a variable font with size-variable swashes and OpenType features such as Stylistic Alternates for lowercase letters as well as some Contextual replacements for Final Forms of a c d e f h k l m n o q r t u v w x z and entrance stroke versions for r s and z. As for extra swashes hyphen (-) and underscore (_) have also 2 alternates. There is a font presentation video on youtube OpenType guide is also available for download here This font is a contribution to Covid relief funds and individuals who are in need: 50% of sales goes to this kind of charities. There is a challenge on social media where you can submit your artwork featuring this font with a hashtag #alonetogetherfont at @alonetogetherfont on instagram or facebook! Special thanks to the Photography and Music that is exclusive to this font : Empty streets of New York by Kelly Lockett @kellylockk "Time" soundtrack by Zoltan Valter (STU Recordings) @sturecordings sturecordings.ch

Whether you’re promoting your business, designing merchandise, or creating a new social media campaign, good presentation is crucial. The font you choose plays a key role – it completely shapes your audience’s reaction. Introducing Clarkson – A Retro Brush Script Font. Perfectly balanced between power and refinement, this handcrafted font delivers your message with style. The modern take on the retro design makes it ideal for branding, business cards, presentations, logos, clothing, packaging, banners, ads, and much, much more. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Beauty Starlight is a mesmerizing script font that radiates elegance and grace. With its intricate and flowing letterforms, this font captures the essence of celestial beauty, making it a perfect choice for projects that demand a touch of sophistication and charm. The delicate curves of Beauty Starlight bring a sense of refinement to your designs, making it ideal for wedding invitations, luxury branding, and any creative endeavor that seeks to convey a sense of timeless beauty. The script's versatility allows it to seamlessly blend into various design contexts, offering a touch of glamour and individuality. The effortless strokes of Beauty Starlight evoke a sense of handwritten artistry, providing a personalized and human touch to your projects. Whether you're designing logos, packaging, or social media graphics, this font invites you to infuse your work with a celestial glow. Embrace the celestial beauty of Beauty Starlight script font and watch as your designs shine with an ethereal allure. Elevate your typographic expressions with this font that blends grace with a touch of starlight magic.

Afsane is a sans-serif headline font family designed by Naghi Naghashian in 3 weights, Light, regular and Bold.This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Afsane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afsane design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Afsane’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Afsane was developed for multiple languages and writing conventions. Afsane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography.

Alagereas – A Scifi Display Serif Font Alagereas, a captivating Sci-Fi Display Serif font, seamlessly blends futuristic aesthetics with timeless sophistication. Designed for maximum impact, its sleek and angular letterforms exude a sense of technological advancement and avant-garde elegance. Alagereas strikes a harmonious balance between readability and artistic expression, making it ideal for immersive digital interfaces, space-themed designs, and cutting-edge editorial layouts. The font’s meticulous detailing and precision convey a sense of otherworldly precision, while its serif elements evoke a classic charm, resulting in a typeface that transcends the boundaries of conventional sci-fi typography. Alagereas is a bold and versatile choice that transports typography into the realms of the future, embodying the essence of innovation in every character. Alagereas is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Introducing my new font Kampiun Samgor!!! A casual script font and combination with Hand Lettering style which gives a more personal touch and makes the font looks being customized. This font is suitable to use as a logotype, product designs, label, watermark, social media posts, apparel, invitation, signboard, sports club, motor/car, special events or anything that need handwriting taste. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

Looking to make your brand unique and memorable? Maybe you wish to create advertisements that draw attention? A captivating vintage font is a great way to do it! Introducing Nomaden – A Vintage Typeface Font. This exquisite font will look fantastic on packaging, clothing, printed material, and everything else your brand needs. On top of this, you can also use it for websites and social media, making sure that you always stand out from the crowd. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.