This is Tchig Mono, a monospaced type family that doesn't take itself too seriously. Why make a monospaced font? For coding, sure, but display? It’s my humble opinion that it’s the aesthetic choices driven by the constraints of the monospaced environment that makes them attractive. It’s a challenge for the type designer to squash and expand glyphs into a rigid bounding box, and the more unorthodox shapes that spring from this have a feel about them which lends them to postmodernist layouts and hipsterish anti-design. And the payoff for the type designer - no kerning! Yay. So what’s different about Tchig? Like I said before, it doesn't take itself too seriously. Even the name Tchig is just a stupid, fun sound (although it does show off that nice g!). There are a selection of playful alternates that give text a slightly alien feel. Stylistic set 1 chops off ascenders and descenders of lowercase letters, giving it a kind of small caps meets unicase feel (it is also accessible using the small caps feature). The other sets (or stylistic alternates if you don't have access to stylistic sets) make certain letters more twirly, more square, more “experimental”. Automatic fractions use a half-width numerator and denominator so fractions like one half and five eighths have the same width as figures (and every other glyph). There you go then - a monospaced type family not initially intended for use in the usual ways monospaced families are intended to be used. Give it a try. You could even do some coding with it if you like.

Introducing Future Flow typeface - 8 fonts Looking for a font that combines classic elegance, romance, and a futuristic vibe? Look no further than Future Flow! This unique typeface offers eight distinct font styles, each with its own personality and flair. Plus, it's designed to support a whopping 87 different languages, making it a versatile choice for designers and creatives around the world. So whether you're creating a logo, designing a website, or crafting a marketing campaign, Future Flow has got you covered. Try it out today and see where its flowing curves and sleek lines can take you! 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 Regular and italic Cut, display, futuristic, line, stencil, two line styles 8 fonts 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!

My brother is an architect, and I have always loved his lettering, you know, the style of writing that can be found on architectural drawings. There is a common thread to it, yet each architect or engineer brings their own personality to it. I have seen a similar style being used by some hand-letterers for invitations, place cards and signage. Inspired, I set out to create my own, and the result is my new typeface, Robard! I wanted something compact, somewhat modular, done quickly but with control, and sourced from hand-lettering. Starting out with a handful of pigment ink pens, I settled on a 0.1mm Copic Multi-Liner, and using a light table with a grid underneath the paper, I cranked out grouping after grouping, letter after letter, numbers, punctuation, accents, just trying to zero in on the feeling and the look I was after. There were some ideas that didn't work, like unicase (there would be no regular lowercase), or swash alternates. Ultimately, I ended up with a decent array of glyphs to choose from, and alternates like oldstyle numbers, and an alternate set of caps for the lowercase slots, and even alternative figures so doubles like 88 would be different. In the font, the OpenType ligature code automatically alternates the cap and lowercase (alternate cap) letters, and numbers as you type, lending Robard that hand-lettered look in a digital typeface that I was hoping for. There are also oldstyle figures, and unlimited fractions, ordinals, and a few alternate letters. I hope you like Robard!

Called by some the "Archetype of the millennium", Verve is a seven-weight typeface family. It features a complete Adobe character set with kerning and fit to match. The alternate characters offer some variations on s,f,h,j,k,S,T,Y and others, plus this font has the Euro symbol. Verve is the fourth in an on-going series of condensed typefaces that I’ve been designing since 1989. My concept was to create an elegant condensed typeface that would be a "typeface for the millennium," in style and functionality. At the very core of all my designs is a typographic problem I wanted to solve, or a market niche that I think needs filled. Verve addresses both of those concerns, without copying or borrowing from its predecessors. There’s the challenge of creating a rich and interesting typeface with an austerity of line and elegance of form. I’m a minimalist by nature – but I wanted Verve to have a sensuous feel in certain respects – yet have that sensuality balanced by the uniformity of the uniform character widths. Gottfried Pott always stresses "theme and variation," and "point and counterpoint," and that’s what I’m doing in Verve. What one finds in musical composition is evident in Verve. Perfect for book covers, CD packaging, club flyers, retail packaging (especially bottles!), identity design and multimedia. The adventurous can try it in text, but it will give you a headache. The beauty of Verve is in thesize and weight variations which create a rich typographic texture in this font.

Get stylish with Distinct Style, a fashionable and contemporary pair of signature & sans fonts designed to perfectly compliment one another. With a fast-flowing script font and a two-weight modern sans serif, the Distinct Style duo offers typographic harmony for your professional design projects, including; logos, branding, magazines, blog posts, social media, advertisements & product designs. Distinct Style includes 4 font files, designed to work as perfect companions or simply as strong standalone typefaces; 1. Distinct Style Script • A classy fast-flowing signature font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Distinct Style Script Alt • This is a second version of Distinct Style Script, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Distinct Style Sans Light • A stylish, modern sans-serif font containing uppercase only characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Disticnt Style Script fonts. 3. Distinct Style Sans Bold • A bolder version of the Distinct Style Sans font. Add some contrast to your text by pairing this with the Sans Light version, or use at smaller sizes. Distinct Style Script contains 64 Ligatures, accessible by turning on 'Discretionary Ligatures' with any software supporting OpenType features. Fonts include multilingual support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Indonesian, Filipino, Malay.

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

Holy Dooley! It’s a new Ainslie! Based on the inspiration from Mt. Ainslie and the Ainslie suburb outside Canberra, the original Ainslie adds geometric simplicity with a hint of aboriginal flair to the project. And now the muses of Ainslie are back at work, lending their structure as the foundation of Ainslie Slab. Like its big brothers, the new Ainslie Slab puts together a great mix of influences from Oz for a great looking typeface with some ace new shoes. Slab’s spiffy new slab serifs complement the classic frame, making the result a ripper Aussie typeface that can be used in a great number of applications. Take a look at the trendy typeface’s alternates in action, too. You can access these in any OpenType-enabled application. Alternates, swashes and alternate titling caps allow you to customize your look and feel. Capital swash alternates, old style figures, and compact caps are included to add a bit more flexibility to your work as well. OpenType enabled applications can take complete benefit of your automatic replacing ligatures and alternates, and this font also presents the glyphs to help a wide array of languages. View all of these in the PDF brochure. And then try them out. Combine it with the original Ainslie and Ainslie Sans for more flexibility. Whether you need a good slab for the copy or you want a clean, upbeat look for your headline, Ainslie Slab offers you a unique touch of the Outback that’s anything but out of touch.

Vigo is a combination of both slab serif and sans serif elements, giving it a unique and dynamic look that’s perfect for any design project. The primitive lines and muscular serifs give Vigo its character, making it perfect for any design that needs a bold and powerful typeface. So why not hop on Vigo for a spin? With its distinctive style and retro flair, it’s the perfect typeface for any design project that needs to stand out from the crowd. Try Vigo today and give your project the vintage charm it deserves! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Want to add an urban touch to your designs? Try using the Shock Graffiti font! This font offers a distinctive writing style and is very suitable for urban and street-themed designs. With Shock Graffiti, you can bring a strong and bold impression to every design you create. Shock Graffiti comes with a complete set of letters and fine details, so you can customize your design better. This font is also very easy to use and compatible with various design applications. Suitable for use in posters, merchandise, or even in t-shirt and hoodie designs. Get Shock Graffiti now and become a daring design creator! Available at an affordable price and with flexible licensing, so you can use it without limits on your future projects. What’s Included : - More than 200 of glyphs ( include Uppercase, Lowercase, Numerals & Punctuations ) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Introducing the September Spirit Font Duo! A hyper-realistic handwritten font duo, which utilises a large range of ligatures (uniquely designed letter combinations), and alternate characters—all taken from real handwritten words—to achieve an incredibly natural handwritten style. As well as the fast-flowing handwriting font, September Spirit also include an all-caps version, great for combining with the regular font for adding emphasis to words, or even as it's own standalone font. Not only that, a bonus font of extra circles, underlines & arrows is included to add even more emphasis and an additional hand-crafted aesthetic. The September Spirit family includes; September Spirit • A fast-flowing handwritten font containing upper & lowercase characters, numerals, and a large range of punctuation. September Spirit Alt • This is a second version of September Spirit, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. September Spirit All Caps • An uppercase-only font, perfect for pairing with the regular September Spirit fonts to add emphasis to words or phrases. September Spirit Extras • A bonus font containing 19 hand-drawn arrows, cirlces and underlines. Ideal for adding to your September Spirit text for extra emphasis. Language Support • September Spirit supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Are you tired of weak, flimsy fonts that can’t handle the heat? Look no further than Gunplay—the tenacious stencil typeface that will make your message stand out from the pack. Inspired by the iconic 1972 film The Getaway, Gunplay exudes a gritty, rugged aesthetic that demands attention. With three different special effect styles, this font brings a bold and authoritative voice to your designs. Whether you’re looking to make a statement with a bold headline or add a touch of grit to your body text, Gunplay has got you covered. With its rugged design, this typeface can handle anything you throw its way. So if you’re ready to take your designs to the next level, give Gunplay a try. With its tough voice of authority, this font is sure to leave a lasting impression. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

A gentle breeze on a warm summer's day. A cozy gathering of friends and family around a crackling fire. The sweet aroma of freshly baked cinnamon bread. A slow walk in the autumn woods, light sparkling down through the multi-colored leaves. Billowing white clouds against a stark azur sky, leisurely floating past the tops of palm trees. What do these idyllic scenes all have in common? A: Most people can never find the time to enjoy any of them. B: These are just some of the things you would never try to describe using a crankish font like Spleeny Decaf GD. Just as ITC Fontoon was designed to be used with the many critters that populate the "Toonie" series of fonts, Spleeny Decaf GD was created by Steve Zafarana for use in the balloned dialogue portions of a new panel cartoon feature currently under development. Spleeny Decaf GD is the first completed font in a family that ranges from the jittery san serif Spleeny Espresso GD to the sedate and serifed Spleeny Asleep GD. Each font in the series appears a little more relaxed and staid than its predecessor. None of them however, will find themselves being used for the text of any legal documents. Spleeny Decaf GD is the perfect font to use when the weight of the message is leaning towards the light and jocular side of things. So remember, if your documents are starting to put you on edge, it may be time to switch to decaf. Spleeny Decaf GD that is.

Some say The Silver Age Will End in Fire; others say The Silver Age Will End in Ice! Know, O Prince, that In Your Darkest Hour, the Masters of Evil Will Live Again! But from The Ashes of the Bitter Taste of Defeat, A New Power will be Unleashed! Lo, There Shall be A Frenzy in a Far Off Land, There Will be a Great Price AND a Great Prize! There Will Be a Bitter Victory in a World Gone Mad -- a World You Never Made... Face it, Tigers, You are Captives of The Coming of The Return of The Mad Mysterious Menace of He Who Would Destroy You...This Man, This Monster... This Final Font in our collection of Silver Age Display Lettering -- BATTLE DAMAGED! See the families related to Battle Damaged: Battle Cry & Battle Scarred .

Presenting my font called Hubber. This font has been inspirited by product retro posters from 60s-70s. I tried to make letters as much streamlined and gentle as possible. I hope you'll enjoy how sweet it came up. Hubber consists of​ such features as swashes, alternate glyphs, ligature, ​ and additional shadow font. Hubber perfectly fits for retro designed logos, posters, prints. Hubber Features: Up to 19 alternates for each letter with swashes Contextual alternates feature will automatically match alternate letters depending on their position or pairing 21 ligatures Shadow effect font to save your time. Just place the ​layer with Shadow font behind Regular to make the shadow effect Carefully tuned kerning (preview above doesn't show it for some reason) If you have some issues, questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Hubber!

Aldo Pro is a contemporary sans serif OpenType font family designed by Sacha Rein. With 8 weights from hairline to black and an extended latin character set of 690 glyphs it is suitable for all typesetting needs, from advertising and branding to web and screen. Aldo Pro is the evolution of the free Aldo semi-bold font published on dafont.com in 2007, and which has been downloaded over 700.000 times. « I have gotten quite a lot of feedback on the original Aldo over the years and tried to integrate most of it into Aldo Pro. The x-height has been reduced to make for a less condensed, more legible font, which makes it more useful for body text than before. By popular demand the X glyphs have been changed to a more ‘classic’ shape. The font also contains some useful ligatures now. »

The typeface is inspired by our love of old hand-painted signs in butchers, and based on some very quick sketches using a brush pen to find what shapes worked. There is quite a quirky element to the type, as we tried to create the original sketches by rotating the brush pen to reflect the strokes of a paint brush. This lead to a horizontal stressing, which is most noticeable in letters like C, G, S and J. Sidestroke comes in 2 styles, both a standard solid version, and a pre-shadowed outline version. This can be outlined and divided in Illustrator to quickly create an alternate coloured fill for your letters. The lowercase letters have been designed to automatically horizontally align with any uppercase letters, which is a great shortcut when creating logos or other unique type layouts.

If you'd like to scream, but you have no self esteem, or you'd love to start a fight, but you're scared of the night, I made this font for you all, whether you're short or tall. Monden is wide, gentle and fun, but it wasn't born under the Sun, it was my intention to make it unique, I surely hope I didn't make some freak, it looks a bit classical, in moments maybe here and there radical, but it surely is really graphical with a dose of something magical. Want a logo, poster or any other design, but you'd rather cry and then run, even this description sounds lousy, at least it isn't so drowsy, so meet Monden family from our hood and keep your spirit in good mood, and do the things on any way you think they should.

Edhan martine is a unique and very elegant font for brand and logo designs. Based on our experience as graphic designers working in many companies, we are often asked to design a logo with a unique style but with an elegant shape. So, we tried to brainstorm and come up with this font to get ideas out. It is perfect for BRANDING and LOGO DESIGN. You will get a classy, elegant, and of course unique logo with this font. To make it look even more unique we created 150 ligatures for you, so you can create any amazing design you want. Edhan martine also includes the full set: -uppercase and lowercase -multilingual symbol -number -punctuation -stylish alternates Hope you enjoy our fonts and if you have any questions feel free to message & I'm happy to help :)

My name is Teruyoshi Matsui. I am a Brush Art Designer. My foundry ‘Brush Art Design Office’ is situated at the foot of an active volcano ‘ Mt. Aso ’ in the Kumamoto Prefecture, the southern part of Japan. I design the letters of the alphabet with a Japanese brush. I have created the brush font named ‘ Lethal Fake ’ in my unique brush style. At the beginning of making the font I was going to name it ‘BrushType Lethal’ and tell you, “ Be careful using it. That’s because it ’s Lethal ”. But actually I was very disappointed when it was finished. I tried to make it lethal, but it was not. So I changed the font name into ‘ Lethal Fake ’. This time I have to say to you, “ Be careful using it. That’s because it’s not Lethal ”. Thank you.

The Overleys is a handwritten font with quick dry strokes and a signature style. perfect for branding projects, homeware designs, product packaging or simply as a stylish text overlay to any background image or posters. The Overleys has an entire alternate glyph set. This is accessible simply by their own separate font file - just install this as normal and select 'The Overleys Swash' , ‘The Overleys Alt' or ‘The Overleys Brush’ in your text-tool. The Overleys includes 3 Font files: 1. The Overleys - A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. The Overleys Alt - The second version of The Overleys, with a completely new set of both lower and uppercase characters. 3. The Overleys Swash - A set of 26 hand-drawn swashes, with cool touch to underline you’re The Overleys text.

Madelyn is a handwritten script font based on the expression of real handwriting. Amiable and organic, it is perfect if you want to convey individuality and style. It’s written with a calligraphy pen with casual dry strokes and a signature style. This script contains upper and lowercase characters with pleasant low x-height and high ascenders and descenders—and also numerals and a large range of punctuation and symbols. More than 100 ligatures are also available for upper and lowercase characters—double-letters which flow more naturally. Contextual alternates are part of the Open Type feature set. Madelyn Doodles includes a set of handmade ornaments, icons and swashes that can help you for your key visual. Madelyn is perfect for branding projects, logos, product packaging, posters, invitations, greeting cards, titles, blogs, everything that includes personal charm.

Cherubina means ‘Blessed’. It is a name derived from the Akkadian “karabu / kuribu”, meaning “blessing, blessed”. A cherub is a type of spiritual being mentioned in the Hebrew Bible, often depicted as a baby with wings. This font was based on the hand lettering I found on a 1962 Japanese poster for the movie “Mother Joanna Of The Angels”. The poster was designed by Hiroyoshi Oshima. Cherubina font is an all caps font (upper and lower case differ and can be used together) with a medieval feel to it. I tried to keep the ‘spirit’ of Hiroyoshi Oshima’s lettering, but changed the glyphs and designed most of them myself, as I had nothing but the title of the poster to work with. I have added some ligatures as well. Comes with my blessing and an eternity of diacritics.

Y'know the real trouble with Spider-man, Superman and the rest of the soulful superheroes, gloating supervillains and musing muckmonsters is They Just Don't Shut Up! For Crying Out Loud, give those iron jaws a REST willya?!? Yak Yak Yak! Blah Blah Blah! Yada Yada Yada... "With Great Power Comes Great Responsibility!" "You won't get away with this, Luthor!" "I'm the best there is at what I do!" SHUT UP!!! Letterers don't get paid by the WORD you know! QUIT YER WHINING! Yeah, yeah, yeah this font IS the much requested typeset -- featuring upper AND lower case characters -- created by Starkings & Roshell for the X-Men back in the Age of Apocalypse. Hell's Squakkin' Teeth -- The X-MEN... don't even get me started on THOSE guys! What THEY need is the mutant ability to put a freakin' sock in it!

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Sonrisa is a design that evolved from my sketches of the skeletal structure of Jakob Erbar’s Koloss, trying to discover its underlying essence without all the contrast and bulkiness of the original design. Sonrisa Thin was the resulting font, from which the other weights of the family were developed. Gentle curves, open counters, generous x-height, and sleekly tapered terminals give Sonrisa a very legible, modern, elegant appearance. When she saw the first draft of this typeface, the smile on my friend Jennifer’s face gave me the idea to call it “Sonrisa” (Spanish for “smile”). Jennifer, a clinical psychologist, described Sonrisa’s personality as: "happy, clean, clear, open, joyful, spacious, playful, calm. I can see it being used for body product lines such as oils and lotions. Can see it being used in home/travel magazines or even Architectural Digest. Yoga magazine, definitely." Sonrisa is what some foundries call a “Pro” typeface family with all the bells and whistles that provide typographic versatility: true small caps, oldstyle numerals, arbitrary fractions, discretionary ligatures, and other powerful OpenType features. All fonts in the family, except Sonrisa Titling, support most European languages, including modern Greek and languages that use the Cyrillic Alphabet. (Cyrillic glyphs designed in consultation with Ukrainian type designer, Sergiy S. Tkachenko.) Sonrisa is available in the original Thin, monoline version as well as six weights (Light, Regular, Medium, Bold, Extra Bold, Black), and a Titling font that is essentially a display font construction kit. If you enjoy using Sonrisa even half as much as I enjoyed creating it, then I know you will have a “sonrisa” (smile) on your face!

Looking for a minimalist and luxurious serif font for logos, web design, clothing promotions, brochures, and more? Garelina is the answer. This font has thin and smooth lines that make it look elegant and luxurious. Garelina is perfect for branding and promotion purposes. With its delicate typography, this font can add aesthetic value to your design. Garelina also has several letter variants making it easy to use for various design types. With Garelina, you can create minimalist designs that still look luxurious and elegant. This font is perfect for companies that want to display a professional and stylish image. Do not hesitate to try Garelina on your design now. You will be surprised how easy it is to make elegant and luxurious designs with this serif font. Garelina, the elegant and luxurious serif font for your branding needs. What's Included : - Garelina OTF - More than 250 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations,Ligatures and Stylistic) - Multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Finnish, French, Frisian, Galician, German, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Calgera, is a typeface designed by Teuku Riski Firmana. Calgera is a contemporary serif typeface with a distinctive look. Calgera creates an unique character, with different stylistic sets you can change the feel of your design from more organic to more standard. with 9 weights ranging from Thin to Black. This is an elegant font, with beautiful and harmonious alternate, which makes it ideal for use in magazines, in the fashion industry, branding, logo design, dynamic packaging and countless other projects. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes and detailed elaboration of each character, making your text look great both on paper and on the screens. Calgera in numbers: • 108 styles and 1 variable fonts • 843 glyphs and 441 characters in each style • Support for more than 48+ languages • 27 OpenType features in each style • Amazing Manual TrueType Hinting • 4 variable exes (Weight, Width, Slant, Contrast) Useful OpenType features: Access All Alternates, Historical Forms, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Fractions, Oldstyle Figures, Ordinals, Numerators, Small Capitals, Discretionary Ligatures, Standard Ligatures, Small Capitals From Capitals, Case-Sensitive Forms, Denominators, Scientific Inferiors, Subscript, Superscript, Kerning. Calgera language support: Acehnese, Afrikaans, Albanian, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmål, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu, Tagalog, Serbian, Zazaki, West Frisian, Breton, Gagauz, Scottish Gaelic, Northern Sami, Esperanto, Latin.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

Add a little sparkle to your designs with Crystal Sky! A clean & modern signature-style font set, perfect for creating authentic hand-lettered text quickly & easily. With exaggerated strokes and an extra bouncy baseline, Crystal Sky has an unmistakable charm; perfect for logos, wedding stationery, cards, gift designs, product packaging and handwritten quotes. ★ New Update • Crystal Sky Hearts! Add some passion to your Crystal Sky text with Crystal Sky Hearts, a new font included in your download! These bonus designs add a beautiful, flowing decorative heart at the beginning, middle & end of your Crystal Sky Script text at the click of a button. Crystal Sky is packed full of great features to give you plenty of customisation options; Crystal Sky Alt • This font includes an entire alternate lowercase glyph set. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Crystal Sky Caps • Have you ever noticed that script fonts tend to be a bit tricky when it comes to typing in all-caps? 'Crystal Sky Caps' includes a totally separate set of A-Z letters - designed to work in harmony with each other during those moments when you need to hit your caps-lock button and go a bit wild! ★ New! Crystal Sky Hearts • Simply install this as its own separate font, and type any a-z or A-I character in this font to generate 1 of 35 heart decorations, designed to pair beautifully with the Crystal Sky Script font. (Please see the image above for a use guide).

Inheriting the beauty and style of old type classics from this genre, Jeles is blended with very elegant modern approach featuring soft corners, round slab serifs and tasty ball terminals. Jeles is designed mostly for display use and it is highly recommended to get the whole family if you want to get the best result. It is designed in two styles Condensed and Normal. The Condensed version is developed in two weights each coming with corresponding italics. While the Normal styles are three ranging from Regular, Bold and Black. The total of 7 separate fonts inside the family are quite enough if you look for diversity and flexibility at one place. You could use the uprights for more serious and strong headlines while the Italics work perfectly for more fresh and live subheads. Of course editorial design is only one of the many directions where Jeles family could be used successfully as we all know typefaces with so visible contrast between thin and thick and combined with classic elegance, could be easily used in every design of cosmetic industry, fashion, food, jewelry, etc. Try to design a stylish boutique shop signboard and you will surely discover its beauty and potential. Easy-to-read, it is good for print design, revealing its authentic letterpress-like character as well as perfect for screen use note that the thin strokes and serifs are not that thin to vanish on a low resolution monitor. Professionally designed, they are solid enough yet very elegant and even gentle making Jeles a desired family design of attractive web banners, web sites, apps and e-books.

Delm font family is one of those large and useful families that you really can’t miss if you are looking for typeface combining originality and legibility. Delm is one of these – a sans serif with geometric modern look designed very smart with soft round look and very specific inktraps that complement its uniqueness. It is developed in 9 separate weights ranging from Hairline to Black, each coming with corresponding slanted version (called ‘Oblicua’). The light weights look more elegant, gentle and with more sensible feeling for geometry while the black versions are more soft, friendly even puffy and the geometric skeleton of the family is dominated by the overall roundness. The mid-weights are strong and prominent setting right the middle point in the contrast range of the family. Delm is a font with dedication – with so many options for different character contrast combined with slanted styles, it is perfect for editorial design where it could be easily used either for text or display font. Editorial is not of course the only application – you could successfully rely on this typeface if create brand or corporate identity, typographic posters, signboards, instruction plates, etc. Very diverse and original, this font will not leave you unsatisfied – moreover – it will surely make you try it in more and different designs be it printed or designed for screen. Web sites, banners, applications and e-books are places where Delm will show its best because of its originality, finely tuned contrast and its enhanced legibility. Fully equipped with OpenType features like ligatures and multilingual support, Fontmatters highly recommends to get the whole Delm font family for maximum results and satisfaction.

AS Palmer Script & Sans This pair was inspired by the spirit of the past, when manual labor was common, and technology was just beginning to develop. It was crafted by hand specially for traditional typography lovers and anyone who want to add natural handmade feeling in brand identity. It comes with Regular and Aged versions that expands its posibilities in use. Opentype features Script font has 151 stylistic alternates and 3 variations of end-swashes with about 10 lengths of each style. Stylistic Alternates. The easiest way to get alternate character is to add number for example 2, 3 or 4 after any Uppercase. Each of them has from two up to five alternates. This combination works with activated Standard Ligatures option in Opentype panel (Photoshop / Illustrator). End-swashes. AS Palmer Script has 3 variants of end-swashes and about 10 lengths of each style. It works like Stylistic Alternates with activated Standard Ligatures in Opentype panel. Just add special combination at the end of the word, to get needed swash element and its length. Underscore, double underscore or slash is swash style. Number is length. For example: _3, __5, /6. Just try, it's easy. AS Palmer Sans - different Double letters. This feature work automatically with activated Contextual Alternates in Opentype panel. Note, that this features are not available in Miscrosof Word. Palmer is very good looking in logo, labels, t-shirt prints, product packaging, invitations, advertising and others. I've designed some examples, so you can see how it can be used. Multilingual support (Western European characters). English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, Turkish.

The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version. For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).” Schwartz’s revival was originally commissioned in 2004 by Mark Porter for the redesign of The Guardian, but not used. Schwartz completed the family in 2010 for Richard Turley at Bloomberg Businessweek. Its thinnest weight was designed by Berton Hasebe.

Say hello to another of my hot and trendy scripts, Hot Script! I got the inspiration for this one in the world of sign painters. My neighbourhood, and more specifically the avenue were I live, is very well known for its ''parrillas'': For those who don't know what this means, well, it may be better to live the experience rather than reading these lines. Villa Urquiza is full of restaurants with an argentinian flavour, with a ''gauchezco'' feel. Here you can taste some of the best ''asados'' in the entire world. Ok, this made me hungry, let's go back to type: These amazing venues still mantain genuine elements from the past, and try to preserve the beauty of the handcrafted. Parrillas of Buenos Aires have all their walls, windows and doors lettered with chalk or paint. I've always wanted to make a font out of that, and Hot Script is my first attempt. I believe the results are great! Hot Script follows some rules of the flat brush (see terminals, and tails especially in caps) but its contrast of thicks and thins was manually altered to make the font better for a wider range of uses. Although the sexy curves and versatility of Hot seemed to be enough, I decided to spice it a little more by creating some layers for it: Hot Script Shine Solo or Hot Script Shades Solo combined with Hot Script will give outstanding results. (Look for them combined in the posters above and dare to deny it!) Go make your project more savory! This font is Hot, hot, hot!

Welcome to Candyhouse! It's bold, playful, loopy & the party never stops! This hand drawn font set is perfect for injecting some bubbly energy into your project. The great thing about Candyhouse is that it's not just a script font; it's crammed full of extra goodies such as a complete set of alternate lowercase characters, an additional all-caps font, and a bonus set of 30 hand-drawn elements including doodles, swashes & arrows. All of these combined provides you with a huge range of layout options and fun ideas to experiment with. Candyhouse consists of 4 fonts; 1. Candyhouse • A hand drawn script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Candyhouse Alt • This is a second version of Candyhouse, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Candyhouse Caps • An all-caps font containing uppercase-only characters, perfect for supporting text to compliment the Candyhouse script font. Also includes numerals and a large range of punctuation. 4. Candyhouse Doodles • Need a bit more visual appeal to your text? This bonus font includes 30 hand-drawn doodles, swashes and arrows which are the perfect companion to Candyhouse when you need that extra personalised touch. Simply install the font and type any a-z (swashes) or A-Z (doodles) letter to generate a doodle. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Polish, Indonesian, Filipino, Malay