Arabellia Signature is a lovely and cursive handwritten font. It is the best choice for creating eye catching logos, branding and quotes. Every letter has a unique and beautiful touch, which will make your design come alive!

An ad from the 1930s for a Spanish company called Intex Textiles featured some hand lettering in a bold and unique stencil design. This is now available as Textile Stencil JNL, in both regular and oblique versions.

Mahgin is a bold and thick lettered serif font. Fall for its assertive style and use it to create distinct designs. This font is PUA encoded which means you can access all glyphs and swashes with ease!

Aaarp's an arty farty cut paper display font - inspired by Jean Arp & Henri Matisse’s amazing work. Get creative with extra glyphs and shapes... Aaarp also has alternative letters so you can make all your designs look unique.

Superior Mind is an incomparable and simple lettered handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Progs Font is a messy, disorganized handwriting font equipped with several unique special alternates in the uppercase “O” and lowercase “o” letters, looks natural and realistic, suitable for social media, branding, quotes, packaging labels and other designs.

Enduring Promise is an incomparable and simple-lettered handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Public Safety JNL was inspired by a 1940s-era health poster issued through the WPA (Works Progress Administration). The font’s bold, blockish sans lettering commands attention and has been made available in both regular and oblique versions.

A typeface that shows its root in stencil lettering. Dario Muhafara created a modern sans serif type family which is ideally suited for cool, technical themes. A small caps font offer a widely usage in book production.

Stinky School Book was created to letter the adventures of a particular Mr. Stinky the Elf, but you can use it for that informal look when used for body copy or as a display face for headlines.

Brightsome is a hand-lettered brush script with OpenType features. It is suitable for design, weddings, events, t-shirts, logos, badges, stickers, and more to make your work awesome. Features: - OpenType Features - PUA Encoded - Multi-Language Support

The hand lettered actors’ credits on a title card from the 1937 film “Shall We Dance” served as the model for Formal Event JNL – an Art Deco sans serif font available in both regular and oblique versions.

A strong geometric font of lowercase letter only, with the look and feel of Jazz-age neon. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Vivala Line is a real italic, and it was inspired by old Polish children's books with its charming hand drawn lettering titles. Fields of application are posters, magazines, packaging design, books, corporate design up to consolidating reading.

Kalendar is a geometric display font, inspired by a calendar design by Ivica Kis, a Croatian architect. This font contains alternative letter-forms for many characters. Kalendar works best in display applications, such as logos and titles.

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

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

Morris is a four-font family produced by HiH Retrofonts and based on the work of the very English William Morris. William Morris wanted a gothic type drawn from the 14th century blackletter tradition that he admired both stylistically and philosophically. He drew from several sources. His principal inspiration for his lower case was the 1462 Bible by Peter Schoeffer of Mainz; particularly notable for the first appearance of the ‘ear’ on the g. The upper case was Morris’s amalgam of the Italian cursive closed caps popular throughout the 12th through 15th centuries, a modern example of which is Goudy’s Lombardic Capitals. The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called “Troy Type” and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called “Chaucer Type” for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was not only to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions. Our interpretation, which we call Morris Gothic, substantially follows the Petzendorfer model used by other versions we have seen, with the following exceptions: 1) a larger fillet radius on the upper arm of the H, 2) a more typically broadpen stroke in place of the foxtail on the Q, which I do not like, 3) inclusion of the aforementioned ear on the g and 4) a slightly shorter descender on the y. We have included five ornaments, at positions 0135, 0137, 0167, 0172 and 0177. The German ligatures ‘ch’ & ‘ck’ can be accessed using the left and right brace keys (0123 & 0125). Morris Initials One and Morris Initials Two are two of several different styles of decorative initial letters that Morris designed for use with his type. He drew from a variety of 15th century sources, among which were Peter Schoeffer’s 1462 Mainz Bible and the lily-of-the-valley alphabet by Gunther Zainer of Augsburg. Each of the two initial fonts is paired with the Morris Gothic lower case. Morris Ornaments is a collection of both text ornaments and forms from the surrounding page-border decorations.

Smart, legible and elegant, Gravesend Sans is a based on the unique typeface used for the iconic grass-green signage for the Southern Railway. In existence from 1923 to 1948, when the network was nationalised, the Southern Railway linked London with the Channel ports, South West England, the South coast resorts and Kent. The same design was also used for the ‘hawkeye’ signs on the London, Midland and Scottish Railway, differentiated by black letters on a yellow background. Reference for each letter was taken from vintage ‘target’ station nameplates and other platform signage. The rarest letters were the Q, seen in Queens Road Battersea, the X, seen in East Brixton, and the Z, used in Maze Hill, site of an infamous train crash in 1958. Being hand-made, the letters often differ in width and thickness. There was no lower case. The Bluebell Railway, a heritage steam line, runs over part of the old Southern Railway network and uses a very similar type. The design of the numbers differed considerably, but here have been taken from the Device 112 Hours font Smokebox. As well identifying platforms, they were used on the front of the steam engine’s smokebox, hence the name, and stylistically are more in keeping with the letters than some of the squarer versions that can be seen in old photographs. William Caslon IV is credited with the first Latin sans-serif type, shown in a 1816 Caslon specimen book. ‘Two Lines English Egyptian’, as it was called, was caps-only, and there are several other correlations between that type design and this one. Includes a selection of authentic arrows and manicules, plus abbreviated ligatures such as ‘St.’ (Saint or Street) ‘Rd.’ (Road) and ‘Jn.’ (Junction). The Cameo version includes many graphic banner elements that can be freely combined.

Lush was a formal script until it had a few too many drinks and, as a result, loosened up a little bit. Harkening back to the handlettering of the 40s and 50s, Lush has evolved into a casual, but well-dressed script that maintains a rather aggressive rhythm. Transitions often whip back quickly, forcing the letters to reel from the movement and resolve efficiently. It is not as warm as some scripts, intentionally so, so as to distinguish it from its predecessors. Type and lettering fans will revel in the options afforded to each character—in some cases there are up to 15 different variations with multiple glyph recipes available to produce the most unique and fluid lettering combinations possible. An often overlooked segment of contemporary script fonts, the uppercase letters have at least 3 options to work with that mesh well with the 36 ornamental flourishes to add even further embellishment. In total, there are over 1,650 glyphs in the typeface that includes these OpenType options: Stylistic Alternates, Contextual Alternates, Swashes, Titling, Historical Forms, Initial Forms, Oldstyle Numerals and 3 additional Stylistic Sets. With this release, I have tried to provide as much flexibility and 'forgiveness' within the typeface so the lettering enthusiast can have fun and explore thousands of iterations… and it's pretty easy math to figure this out: with over 970 alternates and 270 ligatures, I intended this typeface to be one that keeps on giving. One important fact to note… this marks the first release of a smooth, non-brushed, non-textured script from me—but it won't be the last. That said, I will have to admit that the brush has influenced many of the characters and their construction. Enjoy :)

Nuyork Arabic was designed to emphasize on the individual Arabic letter visual traditional characteristics. Including 5 weights, it was designed with both text and display applications in mind. This font is intended to produce virtually cursive texts without eliminating the clarity or look-and-feel of the individual Arabic letters. Offering glyphs for the full Extended Arabic Unicode Standards 6.1, including the latest Arabic Supplement and Extended-A Unicode blocks, Nuyork Arabic incorporates comprehensive support for Quranic texts and other Arabetic scripts, including African sub-Saharan scripts. Careful design considerations were given to make sure that composed Arabetic text is visually prominent and stands well next to Latin. To insure legibility in all sizes, vertical strokes are emphasized when possible, while utilizing multiple x-heights to give a traditional Arabic feel. The design of this font follows the general guidelines of the Mutamathil type style developed by the designer, a decade ago, to enrich and diversify user typographic options, and to address the Arabetic scripts challenges of literacy, education, economics, and technology. Based on this style, it uses one glyph for every basic Arabic Unicode character or letter, as defined by the latest Unicode Standards, and one additional final form glyph, for each freely-connecting letter in the traditional Arabic cursive text. Nuyork Arabic includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned, with most of them appearing on similar high and low levels to clearly distinguish them from the letters. Tatweel, or Kashidah, is a zero-width glyph. Arabetics Latte includes both Arabic and Arabic-Indic numerals. Available in Open Type format, the Nuyork Arabic font family includes regular, light, bold, extra bold, and black.

A rustic black letter from the 1930ies — with stylistic alternates. The high degree of abstraction of this typeface allows it to appear modern, even though its shapes clearly show an origin from Fraktur and Gothic. The letters present the effect of woodcarving or silhouette cuttings as they are defined exclusively with straight lines and sharp corners. By doing without any bowls, the typeface becomes a stylistic entity with a decorative effect. Palmona is especially appealing in combination with bold illustrations. Some of the characters of Palmona are available in one or more alternate forms which can be accessed manually or automatically. Use of these alternates is most easily operated with OpenType-Functions Standard-Ligatures and Discretional Ligatures in the user program. With Standard Ligatures activated, problematic letter compositions are substituted with appropriate ligatures. Likewise, in certain letter combinations the alternates are inserted. The Discretional Ligatures include additional alternatives. Configuration of the characters of the Palmona font is according to Unicode ISO 8859-1 (Latin1). Consequently all characters for all European languages with Latin type are covered — including Turkish, the Baltic languages, East European and Scandinavian languages. Congruent with the time of its origin and typical for black letter typefaces, Palmona also includes a long s as well as — uncommon but definitely reasonable — a capital ß. Both characters are automatically applied with the activation of Discretional Ligatures, and the associated ligatures appear automatically as well. When using ”long s,“ you must ensure the correct use of the rules for the Fraktur font: ”round s“ is always at the end of the word, also in compound words. For those of you who want to be even more correct, read the corresponding >> article in Wikipedia.

Kake’s upper case letters are inspired by a hand-painted sign outside a temple in Ubud, Bali. The rest of the font is made to fit the style. The hand-made aesthetic is increased by the implementation of contextual alternates, which automatically swap glyphs to alternate forms to avoid the monotony of repeating letters. The amount of variations for each glyph is dependent on letter frequency in English; there are more a’s and e’s than q’s and j’s. Even with only two variations of some glyphs, the programming makes sure that no two matching glyphs are ever next to eachother, and for the most part they will rarely be even two letters apart. This all makes for type that looks like it isn't type. The glyphs bounce and subtly change weight with willful abandon. Some of the letters on that original sign are somewhat quirky. If you're not a fan you can engage stylistic alternates or stylistic sets to change the C, G, S, Y, c, s and y glyphs to a less idiosyncratic form. These variations still have variations themselves, so with contextual alternates on, they will look as random as all the rest. Case sensitive forms and automatic fractions are included, as are 98 ornaments, ranging from the useful to the (let’s just say) esoteric. These can be accessed from the glyph palette. I know you've probably never realized you need an anchor, a fuel pump, skull and crossbones and chess symbols in the same font before, but that doesn't mean you don't! Kake is full on display typography. It’s legible for small blocks of copy but don't go setting essays in it. Unless you really want to... in which case, go for it.

“Corinthiago” feels equally charming and elegant. This stunning handwritten font is a stylish homage to classic calligraphy. It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates Alternates to help enrich your designs: 1. Titling (titl) alternates, are accents for initial letters. is the first stroke that is long and and slightly curved according to the letters, both lowercase and uppercase. 2. Swash (swsh) alternates, is an accent at the end of a letter, is an additional stroke to end writing. 3. Stylistic alternate (Salt), is an alternative glyph to add style emphasis. 4. Stylistic set (SS), some additional glyphs for design alternatives. If you use a combination of two lowercase with a combination of tilt and swsh it will produce a harmonic letter that you can use for a logo, no problem also for a logo consisting of more than two letters, all you have to make sure is starts with a titl and ends with swsh. All glyph alternates (titl, swsh, Salt and SS) are also supported by multiple languages. Another OpenType that is also very important is Ligature (league), this font consists of 51 Ligatures including: Abe, Ade, Ale, Ab, Ad, Af, Aj, Ak, Al, Am, An, Ao, Ap, As, Ax, Ay, Az, aa, ar, be, cc, da, de, di, do, du, dy, ee, er, ii, ir, is, le, ll, lt, om, on, oo, op, or, ov, ow, ox, oy, oz, ss, st, th, tl, tt, ur and uu. We continue to see the possibility to update ligatures in the future. This font is the right choice for a modern design, can be applied to invitations, writing messages in the form of quotes, book and magazine covers, and of course for your brand logo text.

Although better known for his residential buildings, Richard Neutra’s commercial projects nevertheless resonate the same holistic ecology—unity with the surrounding landscape and uncompromising functionalism. His attention to detail even extended to the selection of signage for his buildings. It is no wonder that Neutra specified lettering that was open and unobtrusive, the same characteristics which typified his progressive architecture. House Industries brings the same linear geometry to Neutraface without sacrificing an unmistakably warm and human feel. FEATURES LIGATURES: This feature is on by default. It will substitute a long list of “f” and “t” ligatures. For example, open InDesign or Photoshop and type “ff” or “tt”. NEUTRAFACE DISPLAY ALTERNATES: Neutraface Display contains several stylistic alternate characters useful when a purely geometric setting is desired. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Introducing Glomersa - Modern Luxury Serif Font Glomersa is a modern aesthetic serif font inspired with an elegant and bold design. It brings more chances and possibilities to craft a design with an elegant, strong, and sophisticated vibe. Glomersa suits perfectly in the use of any fashion brand. Glomersa is better used for fashion product packaging, clothing labels, any masculine related brand, or any projects seeking for a touch of elegant, luxury, classic, bold and any sophisticated vibe. FEATURES - Stylistic Alternates - Ligatures - Uppercase and Lowercase letters - Numbering and Punctuations - Works on PC or Mac - Simple Installation - PUA Encoded Characters – Easily accessible without additional design software. - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word - Multilingual Support for 68 languages including Afrikaans, Albanian, Basque, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Icelandic, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Spanish, Swahili, Swedish, and Zulu Hope you Like it. Thank you for your purchase!

Introducing Newberth - Modern Blackletter Font Newberth is a modern blackletter font inspired by modern aesthetics which immersed with a fierce and elegant touch. It provides more possibilities and chances to craft a design with a strong, bold, and aesthetic vibe. Newberth suits perfectly in the use of any masculine or elegant occasion. Newberth is better used for fashion product packaging, clothing labels , or any projects seeking for a touch of fierce, bold and strong masculine font. FEATURES – Stylistic Alternates – Ligatures – Uppercase and Lowercase letters – Numbering and Punctuations – Works on PC or Mac – Simple Installation – PUA Encoded Characters – Easily accessible without additional design software. – Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word – Multilingual Support for 68 languages including Afrikaans, Albanian, Basque, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Icelandic, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Spanish, Swahili, Swedish, and Zulu Hope you Like it. Thank you for your purchase!

Thirty years after its first appearance, Jovica Veljović has produced ITC New Veljovic Pro, a completely revised edition of his first typeface, ITC Veljovic (1984). Prof. Veljović has tapped into all the experience he has garnered over the past decades; by carefully adjusting the proportions of the characters he has provided the new typeface with a more harmonious presence. The serifs have been subtly curtailed and the letters made slightly more condensed. Some new features of ITC New Veljovic are the double-story “g” with its completely closed loop and the more open forms of the “c” and “e”. In the italic variants, the latter is much rounder. Thanks to Veljović’s outstanding work, the optimized ITC New Veljovic can now be used in all contemporary applications. The new Condensed style saves considerable space when it comes to setting longer texts. The Display versions show off the striking, crystal-clear shapes of the design at their best in larger point sizes.

Introducing Black Crown - Modern Blackletter Font Black Crown is a modern blackletter font inspired by royal-classic aesthetic which inspired by modern and sophisticated touch. It provides the no-end possibilities and alternatives to craft a design with bold yet elegant style. Black Crown perfectly suits any vogue or luxurious occasion. Black Crown is better used for product packaging, label, t-shirt, or any projects seeking for a touch of elegant modern blackletter. FEATURES – Stylistic Alternates – Ligatures – Uppercase and Lowercase letters – Numbering and Punctuations – Works on PC or Mac – Simple Installation – PUA Encoded Characters – Easily accessible without additional design software. – Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word – Multilingual Support for 68 languages including Afrikaans, Albanian, Basque, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Icelandic, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Spanish, Swahili, Swedish, and Zulu Hope you Like it. Thank you for your purchase!

Valiety is a serif font family to better charm your designing experiences. It consists of eight different levels to add elegant, modern touches to your designs. Valiety has a continuity aspect produced from each small stroke in order to help the eyes smoothly move from one letter to another. Besides, the thickness differences are unnoticeable so that it leaves stable, legible impressions. With such flexibility, you can use it in either bigger- or smaller-sized texts. Include 8 different weight fonts : Valiety Hairline Valiety Thin Valiety Extra Light Valiety Light Valiety Regular Valiety Medium Valiety Semi Bold Valiety Bold Features: Multilingual Supports PUA Encoded Numerals and Punctuation Valiety is best for any design projects, such as posters, banners, logos, book covers, invitations, quotes, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thank you for purchasing our font and happy designing.

Would you like a professional, yet friendly looking design? If so, Paradise Garden is the best option. Paradise Garden is a serif font in thick weights and round shapes. Due to the weight and shape, this font expresses cute, friendly impressions on your designs. Its main characters are first, the noticeable differences between the thick and the thin lines and second, vertical and horizontal hooks or little wipes on the edges of each letter. It is better applied for big texts for a legibility purpose. You can also enjoy fascinating features on this font. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Paradise Garden fits for various design projects, such as posters, banners, logos, book covers, album covers, quotes, invitations, greeting cards, printed products, social media, etc. Find out more ways to use this font by taking a look at the font preview. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

XXII CoolScript - The vibrant typeface with a ton of alternates MAJOR UPDATE This is a big update of XXII CoolScript. First of all, from now it’s a whole family with 7 new weights from ExtraThin to Black. It comes with more than hundred additional glyphs, some more alternates, ligatures, numerals and fitting opentype features for fractions and two extra ampersands. This lovely script font by Lecter Johnson is another, more soft and round one in the series of Doubletwo Studios’ script fonts (XXII YeahScript, XXII AwesomeScript). Its wonderfully designed letters, ligatures and alternates may bring a charming and individual handwritten look to your creation. This fonts are designed to easily create logos, headlines and text phrases within a blink of an eye. Just open your glyphs-palette* and simply chose, from up to 27 different alternates and variations per glyph, the one that fits best for your needs. *For further information visit the Behance Project.

Chop chop! VLNL Cleaver is an important tool in the Vette Letters’ kitchen. It’s a butcher knife of a font. Razor sharp, ultra heavy and with pointy slanted serifs. At first glance it seems straight-lined, but a closer look revails that all straight lines are curved inward slightly, which enhances the sharp image even more. Cleaver was originally designed by DBXL for cutting meat - hell, it even hacks right through bone. It can easily splice a chicken in one slash or seperate ribs, just like that. You can also very well use it to chop up hard vegetables like pumpkin or squash on the chopping block. It gets better, the opposite blunt side can be deployed to crush ingredients like garlic, nuts or spices like black pepper. You could use a grinder, but with Cleaver it’s more fun, isn’t it? VLNL Cleaver is suitable to give a sharp edge to flyers, posters, logos (Heavy metal bands and other) or magazine headlines.

A title font that looks better as larger the font size. First of all, it is designed for use in the upper-case format. Feature style: futurism, space, modernism, glyph variety (uniqueness (minimum automatic generation)). A kind of „s‟ in the lower-case format sets the tone and emphasizes the character, formed in the Prime Numbers Nebula — they determined its appearance, and influenced the style as a whole. Particular attention is paid to the kern: the kern table is formed manually, taking into account absolutely all the glyphs included in the font-family. Two types of stress (grave, acute) for all letter glyphs. The font contains basic Latin and several additional tables, as well as three types of quotation marks, a non-breaking space and a hyphen, a short, medium, and long dash. For a set of mathematical expressions there are centrifugal signs: equal, minus (not a hyphen or minus-hyphen), plus, multiplication (X-shaped and dot), plus-minus, division. The font was made for 3 years.

Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This sans serif type family of six weights plus matching italics was designed by Hannes von Döhren in 2012. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Text has a functional look with a warm touch and works perfectly together with Brandon Grotesque . It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps. The whole Brandon series is equipped for complex, professional typography with different sets of numbers, alternate letters, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Ernie is a new animated typeface by Jim Ford, intended as a complimentary serif design to Freeman Craw’s fun retro hit, Ad Lib. The serif drawings mimic the behaviors of Ad Lib, on a Clarendon-esque structure. The application of Ad Lib’s behaviors to a serif design highlights it's quirky characteristics; notably in the added contrast, the bending of serifs and the translation to Ernie’s ball terminals. The lowercase g is probably the most extreme example of this "translation." Ernie has a savvy system of text animation built in; with dualing lowercase alphabets, 34 ligatures, and an extensive glossary of custom words, all programmed to automatically make intelligent pseudorandom wordshapes. It's called RMS, aka the Randomagic System. The glossary of “buzz” words is based on the most common and powerful words in marketing and advertising, as well as words that are specific to Ernie’s intended uses.. Additionally, Ernie Alt provides the opposite randomization effects in lowercase text, thus reversing the rhythm of the bounce. Ernie Sorts is a bonus font which includes fun printers fists, expandable banners and other graphic elements. The Ernie character and cartoons were created by Johnny Sampson, as a visualization of the typeface, it's character and it's unique features.