Anabella is a typeface made for the Master’s Degree in Typography at the University of Buenos Aires. It is inspired by the posters of pizzerias located in Naples, Italy; in order to be used in the pizza franchise Giuseppe in Buenos Aires, Argentina. The font preserves and rescues gestural features of these posters, adding a vertical axis and high contrast, typical of the Italian types that arrived in the city product of the immigration. The stroke with brush provides a more organic quality to the sign and provides connotative features. The family has three variables for the different applications that may be required in a pizza place: Italic for bodies greater than 16 pt, Roman for short texts up to 14 pt, and Stencil for use in brands and titles. Anabella was selected to participate in the eighth typography biennial Tipos Latinos.

Introducing Inertia - Logo Typeface - 5 weights Inertia is futuristic, logo typeface loaded with alternate glyphs, ligatures, 5 weights and multilingual support. It's a very versatile font that works great in large and small sizes. Inertia is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Hairline Light Regular Bold Black Alternate glyphs Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Copperplate was the classic nineteenth century engraver's typeface, consisting of capitals and small caps only. Among others (for example Deberny & Peignot) F. W. Goudy's cut for ATF around 1901 is probably the most widely known. Copperplate typefaces are traditionally used for business cards and all that "serious" stuff. My Copperplate Classic is a completely new design, based on some old samples. To make it look more up-to-date and elegant, I gave it some extra swings here and there. The old fonts were all designed with clogging corners or points that can break off in the minds of its designers. Today we do not have those problems any longer, so I could give my Copperplate Classic real sharp pointed serifs. To give you more choice I now added this light cut in three variations, light, sans and rounded! Enjoy! Gert Wiescher

Shandy is a cheerful, free-spirited font that dances jauntily along an undulating baseline. Like Gene Kelly merrily cavorting through that rain-soaked street, in the famous dance scene from Singin’ in the Rain. Curiously, it’s got the liveliness of a bouncy brush script, with some elements of a robust Copperplate-style script, that appear to have been defined by a funhouse carnival mirror. In order to promote variety, no two letters are identical within most occurrences of typical lowercase double-letter pairings (bb, dd, ee, ll, nn, oo, tt, etc.) To enhance your typography, Shandy features many automatic OpenType ligatures, beginning and terminal lowercase forms and Stylistic Alternates for letters E, M and N which are accessible in OpenType-capable applications. Suitable for Branding, Logos, Product Packaging, T-shirts, Magazine headlines, Fashion Glossies, and Food Advertising to name a few arenas.

Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments. Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script.

A companion piece to Mulgrave, this font is the intermediary design between the chunky Victorian style that Mulgrave reproduces and the Ministry of Transport sans introduced in 1933 and digitised as Ministry. Although they date from between 1910 and 1933, these signs show the beginnings of several features Ministry later incorporated, notably the thinner strokes and the more modern forms of the G, M, R and S. The letter widths are approaching a monospace - the L, F and E are relatively wide compared to the W and M, a feature that may have something to do to the casting process. These idiosyncracies were all ironed out when the first version of the MOT alphabet was produced. The Device digitization, as with Mulgrave, stays true to the worn and repainted original metal source material and preserves the unusual widths.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

An inline adaptation of a distinctive slab serif, Cesium is an unusually responsive display face that maintains its high energy across a range of different moods. The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver. From the desk of the designer, Jonathan Hoefler: I always felt that our Vitesse typeface, an unusual species of slab serif, would take well to an inline. Vitesse is based not on the circle or the ellipse, but on a less familiar shape that has no common name, a variation on the ‘stadium’ that has two opposing flat edges, and two gently rounded sides. In place of sharp corners, Vitesse uses a continuously flowing stroke to manage the transition between upright and diagonal lines, most apparent on letters like M and N. A year of making this gesture with my wrist, both when drawing letterforms and miming their intentions during design critiques, left me thinking about a reduced version of the typeface, in which letters would be defined not by inside and outside contours, but by a single, fluid raceway. Like most straightforward ideas, this one proved challenging to execute, but its puzzles were immensely satisfying to solve. Adding an inline to a typeface is the quickest way to reveal its secrets. All the furtive adjustments in weight and size that a type designer makes — relieving congestion by thinning the center arm of a bold E, or lightening the intersecting strokes of a W — are instantly exposed with the addition of a centerline. Adapting an existing alphabet to accommodate this inline called for renovating every single character (down to the capital I, the period, and even the space), in some cases making small adjustments to reallocate weight, at other times redesigning whole parts of the character set. The longer we worked on the typeface, the more we discovered opportunities to turn these constraints into advantages, solving stubbornly complex characters like € and § by redefining how an inline should behave, and using these new patterns to reshape the rest of the alphabet. The New Typeface The outcome is a typeface we’re calling Cesium. It shares many of Vitesse’s qualities, its heartbeat an energetic thrum of motorsports and industry, and it will doubtless be welcome in both hardware stores and Hollywood. But we’ve been surprised by Cesium’s more reflective moods, its ability to be alert and softspoken at the same time. Much in the way that vibrant colors can animate a typeface, we’ve found that Cesium’s sensitivity to spacing most effectively changes its voice. Tighter leading and tracking turns up the heat, heightening Cesium’s sporty, high-tech associations, but with the addition of letterspacing it achieves an almost literary repose. This range of voices recommends Cesium not only to logos, book covers, and title sequences, but to projects that regularly must adjust their volume, such as identities, packaging, and editorial design. Read more about how to use Cesium. About the Name Cesium is a chemical element, one of only five metals that’s liquid at room temperature. Resembling quicksilver, cesium is typically stored in a glass ampule, where the tension between a sturdy outer vessel and its volatile contents is scintillating. The Cesium typeface hopes to capture this quality, its bright and insistent inline restrained by a strong and sinuous container. Cesium is one of only three H&Co typefaces whose name comes from the periodic table, a distinction it shares with Mercury and Tungsten. At a time when I considered a more sci-fi name for the typeface, I learned that these three elements have an unusual connection: they’re used together in the propulsion system of nasa’s Deep Space 1, the first interplanetary spacecraft powered by an ion drive. I found the association compelling, and adopted the name at once, with the hope that designers might employ the typeface in the same spirit of discovery, optimism, and invention. —JH Featured in: Best Fonts for Logos

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans.

Houlding Script, a new & modern script with a handmade calligraphy style, decorative characters, and an eye-catching baseline! Very beautiful in invitations like greeting cards, branding materials, business cards, quotes, posters and more !! Houlding Script is equipped with 440 glyphs. Alternative characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type feature can be accessed using programs that understand Open Type such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. And this font has provided PUA unicode (custom coded font). so that all the stunt doubles characters are fully accessible to the craftsman or designer. Foreign Language Support: ÀÁÂÃÄÅÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝßàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ Houlding Script: Uppercase & Lowercase International Languages ​​& Symbols Support Punctuation & Numbers Unicode Ranges PUA Standards Alternative Style Alternatives Set Styles 1-17 Characters Contextual Variation. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map Windows). If you have any questions, feel free to contact me. Thank you and happy designing :-)

BaBa Rounded is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Rounded Light, Baba Rounded Regular and Baba Rounded Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa Rounded supports Arabic, Persian (Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa Rounded 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. BaBa Rounded’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa Rounded was developed for multiple languages and writing conventions. BaBa Rounded supports Arabic, Persian(Farsi) 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.

Outside Voice is a handwritten, all-caps typeface, created as an homage to the robust history of handwritten protest signs. It's a beautiful display font for a huge range of projects, from poster art to holiday cards. With contextual alternates enabled, this font will automatically cycle through three sets of handwritten alphabets as you type. The result is type that looks as imperfect and handmade as a digital font can get. This makes Outside Voice a wonderful choice for pairing with hand-drawn illustrations. Consider varying the size, slant, and/or color of each line in your layouts. These adjustments make Outside Voice look even more handmade and organic, which is great for fun designs like posters and quotes. This typeface is quirky and ligature-rich, with over 600 glyphs and icons. It supports Latin and Modern Greek alphabets, and includes all European language diacritical markings. It includes a set of decorated word ligatures comprised of common protest words like 'peace,' 'vote', and 'yes!'. Additionally, you'll get a full set of common protest icons, such as a raised fist, planet, dove, and peace sign.

Sprig is a dynamic font that combines in-your-face chutzpah with contemporary brushstrokes. The character shapes are contained, yet give a feeling of casual, off the cuff ease. In some, subtle ways it pays its respects to the sign painters of the 30s and 40s The font comes in three styles: - Display, with extravagant upper case characters and some opentype features - Text, with more contained upper case characters (suitable for "all caps" use) and some opentype features - Professional, where OpenType features include alternative upper case characters (both the TEXT the DISPLAY caps), as well as a number of ligatures. (For use in applications that access OpenType features.) What this means is that Sprig Pro combines all the characters of Sprig Text and Sprig Display in one font and it also has additional ligatures. Sprig Pro contains over 283 characters, while all styles of Sprig contain a full upper and lower case character set, punctuation, numerals, symbols and accented characters for both all characters that they contain. It has all the accented characters used in the major European languages. The Sprig User Guide provides you with more information on how to use Sprig Pro.

WEG* font is an experimental type system where legibility isn’t the focus. This project studies how glyphs are constructed and how their ductus can be modified. I explored how far I can move the limits if I don’t worry about the legibility. In Weg, letters are built by a single line that connects them, along with words and paragraphs. When weight decreases, the legibility of the signs increases. This is the first stage. It’s a project in expansion. The set contains uppercase, lining figures and basic punctuation in three weights: Regular, Light and Thin. The current supported languages are Spanish, Guaraní and English. If you need any other language, please let me know. I would like to expand the character set. Second stage project WEG is an experimental in-expansion font family. Here I present to you the second stage. I’m planning the first upgrade for middle 2021. I’m preparing a pattern set for July 2021. Here you can see the first four patterns. If you buy the font before July 2021, you’ll get this upgrade! • Second stage April - July 2021: pattern set (first four ready). • This upgrade will be available on August 2021.

Nazanin, originally named Haghighi, is a modern Arabic text face first produced by Linotype in 1978. Its popular design was converted into OpenType format in 2005, taking full advantage of digital technology to allow accurate positioning of diacriticals and kerning refinements. The counters and inter-character proportions of Nazanin are characteristic of Persian display lettering and typography. This is particularly true of Nazanin bold, which gives a strong image when used for display purposes. Nazanin possesses fuller, deeper characters than is normally exhibited in Arabic typography: its angled counters contributing to fluid, well-balanced, yet vibrant, letterforms. Originally designed for Farsi typesetting, Nazanin has now become popular for Arabic typesetting as well. Nazanin is available in two OpenType weights: Nazanin Light and Nazanin Bold. Both of the fonts include Latin glyphs (from Palatino Roman and Palatino Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Nazanin incorporate the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Marujo is a highly decorative typeface inspired by painted pieces of Arthur Bispo do Rosário, a striking Brazilian artist who lived for 50 years in a psychiatric institution. Besides its spirited Regular and Light cuts, Marujo family brings nifty eye-catching variations adorned with dots and stripes. It also brings complementary fonts to spice things up even more: there are 2 shadow options and yet a picture font packed with doodles, mostly on nautical subjects (which are strongly present on Bispo do Rosário, a former seaman apprentice.) Bispo do Rosário's works employs a multitude of materials and are often very intricate. Words are everywhere, painted or embroidered at most. He produced a vast amount of works, and is now - posthumously - widely recognized in Brazilian art scene. The psychiatric institution in which he lived is now a museum dedicated exclusively to his work. Marujo draws inspiration not only from Bispo's works, but also from this man's potency, a persistent man who produced amazing art locked in such a tough environment for a life-long. Marujo fonts are positively adventurous and will safely navigate through a sea of feelings, reaching free spirits everywhere. To navigate is precise...

Discover the captivating charm of SP Vincent, a masterfully crafted display font developed in 2023 by Studio Pulp. Inspired by the iconic character Vincent Vega, the central figure in the film classic "Pulp Fiction" (1994), this typeface exudes a powerful and refined aesthetic, befitting a leading role. SP Vincent, with meticulous attention to detail and craftsmanship, showcases versatility that seamlessly complements a variety of design projects, especially excelling in the creation of impressive titles. The three well-balanced weights provide you with the flexibility to unleash your creativity, while the clear, open shapes optimize readability. Anchored in a sleek grid design, SP Vincent embodies modern minimalism and accessible elegance. Whether you are engaged in web design, graphic design, or print materials, this font adds a timeless class to your creations. Be inspired by the seamless blend of functionality and aesthetics in SP Vincent. Specifically designed to meet the demands of 2023, this font brings a contemporary flair to your projects while remaining faithful to Studio Pulp's commitment to quality and innovation. Transform your typographic landscape with SP Vincent and leave a lasting impression reminiscent of the unforgettable moments from "Pulp Fiction."

Respondent is a flowing and handwritten font. Drawn, created and published by Mans Greback in 2021, this script family has a genuine and empathic personality, while being wild and vivid. Respondent can be used in a product or company logo, or in any digital design where you want the appearance of true, released handwriting. Originally inspired by the lettering on the cover of GTA Vice City, over the design process is has evolved to a very diverse typeface that can be used in a wide variety of contexts, much more than a Grand Theft Auto font. The Respondent Family is provided in five weights: Thin, Light, Medium, Bold and Black The different styles supplies a flexibility in both character and size. The font 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. It has extensive lingual support, covering all Latin-based languages, from North 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.

Dx Slight a new fresh & modern Sans with a Ultra Condensed style. The font it’s look good in posters, it is ideally suited for setting titles. However, the font has gained wide popularity among designers, and now you can find Dx Slight on the covers of magazines, on restaurant signs and on the main pages of websites. Dx Slight Display Typeface is the part of a strong and modern display family. This typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular sans and the distinctive letter shapes show their strength in logo design and impressive editorial use. Dx Slight comes with elegant style, strength, and contrasts, with features an extended Latin character set of 366 glyphs covering over 88 languages. It has been designed as a variable font to give lots of options and access to unique type looks, however, it also includes nine weights, three axis H-height and Slant to give just as much access to creativity to those without access to variable supporting software. Its distinctive character and many variables make it a versatile, stylish workhorse, great for interfaces and design.

Introducing Espial typeface - 36 fonts Espial is modern and yet vintage, timeless typeface loaded with 36 font styles (display, regular, italics) 87 languages support and ligature glyphs to make you typography truly unique! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs Display font - regular and italic 17 sans serif weights - regular and italics No special software is required to type out the standard characters of the Typeface. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Afshid is a sans-serif font family in three weights and tow width. Afshid Regular and Afshid ExpandedRegular, Afshid Bold and Afshid ExpandedBold, Afshid Heavy and Afshid ExpandedHeavy. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. Afshid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afshid 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. Afshid’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. Afshid was developed for multiple languages and writing conventions. Afshid 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.

The name of this typeface comes from the surname of James (Jim) Bowie, American pioneer and inventor of the famous Bowie knife. This is exactly what inspired English rockstar David Jones to change his stage name to David Bowie. Bowie is thenew font by Bercz and Latinotype Team. The typeface is a type system that reflects a strong personality, an urban feel and an unprejudiced style. Bowieis well-suited for publishing projects, branding and packaging. This font family is composed of three sections: a group of sharp-shaped uppercase fonts (smallcaps and all caps) in 5 weights, each with matching regular/back slant italics,providing users with 15 different styles for multiple combinations; a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Bowie —a collaborative project between Bercz and Latinotype Team—was developed by Leonidas Loyola, Valentina Vega, Rodrigo Fuenzalida, César Araya and Bruno Jara, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara.. Bowie consists of 5 weights, ranging from Thin toBlack, and comes with a 439-character set that supports 206 languages.

Meet Aeroko, a slick variable typeface that evokes grit and speed, a dynamic play, a future–present competitive edge that evokes motorsport and all progressive brand design. This is a robust type system that creates memorable brand headlines. Powered by four display weights and three widths. Turbo-charged by a two-axes variable font. High performance brands can expect Aeroko to out-pace in every graphic condition. Aeroko is bold and assertive, it moves fast in headlines, it flexes when and where you need it. The forms are boxed and solid from Condensed to Wide, and they provide a distinct contrast when paired with rounder text fonts. Aeroko’s secondary power unit is harnessed from the ever adaptable variable font format. Variable font technology enables vast levels of typographic scale and expression, furthermore it allows Aeroko to react instantly in any digital space to maximize results. Aeroko evokes confidence, this is a typeface that actively encourages you to be courageous and daring with type in your own way. Brands demand distinct and robust typography, much in the same way that drivers demand pace. Aeroko meets these demands with ease, delivering assurance and weight across a valiant aesthetic. Aeroko is designed by Krista Radoeva and the Monotype Studio.

The Comic-Script by ingoFonts In the past cartoons used to be lettered by hand. Hardly anyone does this today. The reason is, because hardly anyone has nice handwriting these days, so there are practical advantages in having a special font. However the font should still look like it’s been written by hand. Well, most script fonts don’t meet this requirement. The LeDrôle Lettering is a computer font, but closely resembles genuine handwriting. The model for the LeDrôle Lettering is my personal handwriting, as can be seen on the example of the Biró Script, which is also an ingoFont. The habit of capitalization comes from the Romanic and Anglo-Saxon countries. Depending on the purpose they are designed in three significantly bolder weights. In order for the typeface to actually look handwritten, it needs to have clearly visible irregularities. These are not found only in the shapes of the individual letters. Even though LeDrôle Lettering is all in capital letters, the characters of uppercase and lowercase letters are clearly different. Additionally, many alternative shapes are used, which are automatically applied when the OpenType “Ligatures” feature is activated. Thus, there are no identical double letters or numerals, and many character combinations are defined as ligatures with alternative forms.

Patrilya Script A New Romantic Script Calligraphy made with a touch of lovely and charming attraction that adds to the impression of a beautiful and elegant. a charming typeface and So beautiful on invitation like greeting cards, wedding invitation, branding materials, business cards, quotes, posters, headings, signature, logos, t-shirt, letterhead, signage, label, news, posters, badges and more Patrilya Script has a script typeface and extra letters and included floral ornaments that allows you to be more fancy and more extraordinary in designing. Patrilya Script requires no special software to use or access the alternate letters. You can even use Patrilya Script in basic writing apps like Word For those with Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Patrilya Script also comes with Opentype features such as access to all the alternate letters and double letter ligatures. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. 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. Thanks

This font is an adaptation of the cyprus syllabic script to a Latin-based font. I tried to assign as many correct letters as possible, but there were too many characters so I had to fit them. Please review the alphabet table of Cypriot syllabic to use the Font. To see all the characters, you can see all the characters and add them to the text by selecting this font from the add character section on the word page. Cypriot syllabary The Cypriot syllabary was used in Cyprus from about 1500 and 300 BC and is thought to have developed from the Linear A. The earliest known inscriptions from between 1500 and 1200 BC are in an unknown language called 'Eteo-Cypriot', or 'True Cypriot', and the script in which they are written is called Cypro-Minoan. From around 1200 BC Cyprus began to be colonised by Mycenaean, Minoan and possibly Cretan Greek settlers, and they probably adapted the existing script to write their own language - the oldest known inscription in Greek dates from the 11th century BC. Cypriot Greek had much in common with Greek dialects of Arcadia and Pamphylia, which corresponds to the province of Antalya in Turkey.

Gramers is an elegant and modern minimalist font family, a new roman sans serif font carefully crafted, These font ideas come from various references, from vintage, classic, art deco, to the modern era. Carefully drawn with high contrast between the strokes bold and thin with the aim of making even the simplest sans serif letters look sensual, elegant, and warm. The feeling of versatility and luxury you get in Gramers. As you can see in the display of our creations such as Branding, Header, Logotype, Posters, Magazines, Packaging, Art deco wedding invitations, and others. This shows that Gramers can accommodate various design styles. The flat lines cover five styles (each light, regular, medium, semi thick, Thick), each of which includes nearly 293 glyphs. OpenType features include 103 standard ligatures and a small number of character variants, and multilingual support (including multiple currency symbols). Features: • 5 Font weight • uppercase • Alternative & Ligature Styles • Numbers & Punctuation • Characters with accents • Supports Multiple Languages This type of family has become the work of real love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you make with Gramers! Feel free to use the #Dora Typefoundry and #Gramersfont tags to show what you've done!

Meet Aeroko, a slick variable typeface that evokes grit and speed, a dynamic play, a future–present competitive edge that evokes motorsport and all progressive brand design. This is a robust type system that creates memorable brand headlines. Powered by four display weights and three widths. Turbo-charged by a two-axes variable font. High performance brands can expect Aeroko to out-pace in every graphic condition. Aeroko is bold and assertive, it moves fast in headlines, it flexes when and where you need it. The forms are boxed and solid from Condensed to Wide, and they provide a distinct contrast when paired with rounder text fonts. Aeroko’s secondary power unit is harnessed from the ever adaptable variable font format. Variable font technology enables vast levels of typographic scale and expression, furthermore it allows Aeroko to react instantly in any digital space to maximize results. Aeroko evokes confidence, this is a typeface that actively encourages you to be courageous and daring with type in your own way. Brands demand distinct and robust typography, much in the same way that drivers demand pace. Aeroko meets these demands with ease, delivering assurance and weight across a valiant aesthetic. Aeroko is designed by Krista Radoeva and the Monotype Studio.

In 2007-8, Carolyn Puzzovio developed this OpenType typeface: Lagoon which is based on an Armenian model from the Mechitarist monastery, Venice, 1810. This project was supported by a grant from the AHRC (Arts & Humanities Research Council, UK) and won a first prize in the Granshan 08 type design competition. Oſten, Armenian digital types are designed to match the forms of Latin type characters and ‘Latinized’, by uprighting the forms; truncating ascenders and descenders and raising the x-height – but in this case the Latin characters in the OpenType font have been designed to blend in with the traditional Armenian proportions which are based on cursive forms – also incorporating some of the quirky shapes from the original model. Faithfully following the original created difficulties of ‘clashing’ characters, particularly those with long descenders, so the font contains over 100 alternative characters in the Armenian part, which will normally substitute automatically where necessary. The sloping lower case characters and upright capitals are traditional in Armenian – capitals are used less in the Armenian language. Three new characters for the Armenian unicode range are included: the Armenian dram (currency) symbol; the eternity symbol; and the index number symbol. This font which will be one of the first OpenType fonts to incorporate these newly unicoded characters.

Arkaim is a modern typeface in traditional East-Slavic and GreatRussian style in typography. This style is not like any other style in the world. It combines elegance and brevity, depth and modernity, originality and convenience. This unique font is certainly eye-catching. Arkaim font is named after the ancient Slavic-Aryan city located in the South of Russia, which is a symbol of antiquity, wisdom, as well as the unexplored ancient world. Arkaim is not only a historical place, but also a place of Spiritual power. The font Arkaim has many Opentype features that will help to create interesting and unique compositions. An interesting and non-trivial solution is a kind of mixture of all caps and upper/lowercase characters. Arkaim contains symbols of all Slavic and European languages. There are fractions, superscripts and subscripts, and many others. There is a standard number and the old-style number, also Slavic numbers. There are all the historical characters Of the ancient Slavic script called Bukvitsa, today mistakenly called Cyrillic. In addition, here is a free demo font (only with Russian, Belarusian, Ukrainian, Bulgarian, Macedonian and Serbian characters) without Opentype features and other symbols. You can try it.. and love it.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! When you have a project that needs a fun, unique font to make it pop, you can’t go wrong with Funtrude. Funtrude comes in three styles: Basic, Extrude, and Hole. Each style has more than 350 of the most beautiful glyphs you could ever dream of seeing. The Extrude style is great for titles, headings, and any other text where you want to use a bold font but don’t want it to be overly bold; the Basic style will work great for things like product names or subheadings; and the Hole style is perfect for anything else! Each individual style comes with its own swashes—so your fonts can look just as beautiful when they’re all capitalized as they do when they’re in normal text. What makes us so excited about this product is how much we love to use it ourselves. When we saw Funtrude for the first time, we couldn’t believe our eyes—it was everything we had ever wanted in a font, plus it was super affordable. GET IT NOW....!!! A Million Thanks Colllab Studio www.colllabstudio.com

-INTRODUCE- Syakila Script is a modern calligraphy font. Here you will find beautiful script fonts. This font is available with several modern swirls that can make your work look elegant, sweet and flawless. It can be used for various purposes such as headings, signatures, logos, wedding invitations, t-shirts, letterheads, signage, labels, news, posters, badges etc. Syakila Script features alternatives to OpenType styles, binders, and International support for most of the included Western Languages. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Syakila Script is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy additional characters for pasting into your favorite text editor / application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you have any questions, feel free to contact me. Thank you very much for viewing and Enjoying it!

Senada is a lovely bouncy script font with a natural & stylish flow. Perfect for making elegant stylish statements - or adding a touch of class to your designs. This script has a multitude of lovely alternates character in its OpenType features - making the font look a beautiful Senada is perfect for many different projects such as logos & branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything. What you get: Senada includes capital and lowercase letters, alternates, and Ligatures Numbers + punctuation Foreign language support 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. Senada 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. I 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.

Reline Rosery is an elegant serif font that radiates sophistication and grace. With its delicate letterforms and light weight, this typeface exudes a refined and gentle charm. The defining feature of this serif lies in its slender and graceful serifs, which add a touch of elegance to each letter. The light weight of the font enhances its delicate nature, giving it a subtle and airy appearance. This font is perfect for projects that require a refined and sophisticated typography choice. Reline Rosery captures the essence of timeless beauty. The serifs are meticulously crafted to create a sense of harmony and balance, while the light weight adds a contemporary twist. This font strikes the perfect balance between tradition and modernity. The letterforms are carefully designed to maintain legibility and clarity, even in the light weight. Each letter retains its distinctive characteristics, allowing your message to be easily understood. You can also enjoy the various features available in this font. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Reline Rosery fits in branding materials, book covers, wedding invitations, or any project that demands a touch of elegance, this font will bring a sense of refinement and beauty. It is particularly well-suited for applications related to luxury, fashion, beauty, and lifestyle. 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.

Pickey Pop is a delightful display font that combines a thick weight, low contrast letters, and charming swinging endings. With its playful and bold design, this typeface brings a sense of joy and vibrancy to any creative project. The thick weight of this font adds a strong and confident presence to each letter. The boldness of the strokes creates visual impact and ensures legibility even at smaller sizes. This display font demands attention and stands out effortlessly in any design composition. In contrast to its bold weight, Pickey Pop features low contrast letters. This design choice gives the font a sense of solidity and consistency. The uniform strokes contribute to a clean and contemporary appearance, making it a versatile choice for a wide range of design applications. What makes this font truly special are the swinging endings found in select letters. These whimsical details add a touch of playful movement and uniqueness to the font. The swinging letter endings bring a sense of rhythm and energy, infusing your designs with a joyful and dynamic quality. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Pickey Pop fits in headlines, logos, attention-grabbing titles, product packaging, branding materials, editorial layouts and website headers. 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.