Rigestha Script is a calligraphy script font that comes with very beautiful changing characters, a kind of classic decorative copper script with a modern touch, designed with high detail to bring stylish elegance.Rigestha Script is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of viable style alternatives for many letters.

Crossfit is a new headline font family, designed by Anita Jürgeleit at TypeThis!Studio. It’s suitable for big sizes and titles, such as big movie posters, advertising or editorial headlines. Matching topics might be adventures, sports, strong nature and all kind of challenging life events. Its bold stability transformes your creation into a non questionable design. It is bold, clear and also friendly thanks to its rounded corners. www.typethis.studio

Gadigel Script is an Elegant script font that comes with very beautiful character changes, a classic copper decorative script type with a modern touch, designed with high detail to present an elegant style. Gadigel script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read. If you need help or have questions, let me know. I'm happy to help.

Wizard Illusion is a halloween display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation 6.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more). I really hope you enjoy it.

This playful offering, suggestive of Cooper Black on some serious drugs, is based on the so-called “California” style of lettering used extensively in travel posters of the 30s to the 50s. This version is based on its interpretation by Carl Holmes in a Walter T. Foster artbook entitled ABC of Lettering. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Luengo is a modern geometric sans serif font family. Rounded corners give a natural and overall home-felt feel with an accessible air and an elegant touch. Luengo is for display purpose, but it also looks great in longer copy, making this family of 5 weights perfect for a range of uses such as brand identities, packaging and editorial. Luengo offers ligatures and alternatives with manual kerning and spacing.

Doblo is a colorful and slightly retro layered type family designed by Joël Carrouché. Consisting of one master character, 8 different layers and a collection of extra ornaments, this fancy family allows several creative combinations and produces unique results. The fonts are delivered in OpenType format and include diacritics for most western & central European languages.

MGN Jovial (2023) by Morgana Studio is a sleek font perfect for futuristic logotypes, embodying a minimalist and avant-garde design. Its versatility shines in tech logos and futuristic app interfaces. The color palette, featuring metallic tones and futuristic blues, amplifies its high-tech appeal. Scalable and legible, it encapsulates modernity and sophistication in design.

Autumn is my favourite time of the year: I love the colors in the forest, the colder temperature and the stormy winds. Autumn Voyage is a very nice set of hand made fonts: a fat one, a thin one and a lovely autumn leaves doodle pack. Comes with a heap of diacritics as well.

Slab Happy is a layered typographic system that adds a unique twist to neutral slab serifs. By pasting layers on top of one another and altering fonts and colors, you can create infinite combinations of slabby brilliance. Slab Happy looks best when set in display sizes, but functions just as well at smaller point sizes.

TOCinRings has letters in circles. The letters are from a typewriter font called TiredOfCourier. The typeface contains characters that can add color to letters. There are two ways to do this. One uses layers and the other a combination of characters, some with zero width. This pdf file explains the how this can be done.

Inkart is a font dingbats, shapes for new labels or frames that the user can supplement according to the requirements and purposes. It consists of a set uppercase containing the forms, and a set is lower case which has areas of the same shapes to be colored by layers. Contains retro and modern styles.

Ademo is a classic, shaded and perspective looking display font. The design is based on two typefaces designed by Carl Albert Fahrenwaldt and published between 1931– 1932 by the German Schriftguss AG type foundry. pdf specimen Ademos special Fill fonts can be used for building multi colored text or for special finishing needs like blind imaging, embossing, stamping, partial UV coating and laser cutting.

Emoji Emotions Font is a hand drawn dingbats font inspired in human emotions and feelings. Includes the complete emojis and the individual faces. Create beautiful quotes, social media posts, posters, cards, ads, packaging or any design with character! Includes 9 original emojis that you will love :) Includes: Emoji Emotions: includes the complete emojis Emoji Emotions Faces: includes just the faces so you can make color emojis

The Stacy is a retro script inspired font. This font has a variety of unique alternates and also has 2 styles, namely regular standard and italic. The Stacy is perfect for a wide variety of projects, and can be easily combined with a wide variety of colors. The Stacy has a bold character and soft nuances that will make a striking impression on everyone who sees it.

Originally issued as Marggraff Bold Script by the Dresden foundry of A.G. Vorm Brüder Butter. Minor variations were given to a few letters to even the color.

Designed for ATF in 1913, Morris Fuller Benton’s version of Nicholas Jenson’s roman, the best of the Venetians and a model for regularity in color and fit.

The version of the script belonging to the languages of the fantastic Predator aliens, adapted to the old Turkish runic script. Looks great with the red color.

Antique monumental incriptional majuscule, originally carved in stone, and sometimes called “Roman Capital”, is the origin of the upper-case part of our latin alphabet. Its narrowed form, derived from handwritten originals used between the first to third century A. D., served as the inspiration for the Mramor typeface, which I drew with ink on paper in 1988 under Jan Solpera’s leadership. After composing negative letters on a strip of film it was possible to use Mramor with the early phototypesetting devices. In 1994 with the help of Macintosh IIvi I added the lowercase letters and bolds, and issued this typeface as 14-font family. After some years of using Mramor for various purposes, I realized a need of modernization and humanizing its very fragile appearance, as well as removing numerous decorative and useless parts. Besides that, type design made a huge technical progress in past few years, so I was able to finish the remaining approximately 9600 glyphs contained in the present font system named Amor. It is already usual to combine sans and serif fonts within one family in order to distinguish (e. g. in a book) historical part from contemporary, a plain chapter from a special one, or, in quotations, to divide speaking persons. Sans-serif typefaces don't arise by simple removal of serifs; they have to be drawn completely separately, when occasionally many declined forms may be made, considered to the serifed original. Nevertheless, both parts of this type system appear consistent as for proportional, aesthetic and emotional atmosphere. Usage of type is often closely linked to its original inspiration, in this particular case with architecture and figurative sculpture. An inner “order” was also text setting in smaller sizes. A smooth scale of weights enriches the possibilities in designing of magazines, brochures, exposition catalogues and corporate identity. Economizing, but opened shape of characters is well legible and antique hint comes into play after longer reading.

Guilloches were – in the old days – used to make the falsification of banknotes more difficult. The engraving of these intricate lines was done by a highly specialized mechanical machine, which was operated by an equally highly specialized engraving artist. Once the settings for a specific curve were changed back to zero it was very difficult, if not impossible to set them back to the old design. I have designed a useful set of Guilloches that join to form ribbons that create a kind of op-art 3d effect. Under the keys A-U and a-u you find joining pieces. Under the keys V-Z and v-z I placed start- and endpieces. 0-4 are different lenght straight extensions and 5-9 are not quite so straight extensions. All other keys are corner pieces that can be used as stand-alones or put in rows to make for superb decoration. With a little bit of experimentation and maybe colored overlays you can achieve super-phantastic designs. Your elegant type designer Gert Wiescher.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations, such as quilting. The TessieLetters fonts contain letter shapes that can be used to construct tessellation patterns. Each family has two styles, an outline style and a filled or black style. The black style can be used to construct colored patterns. To see how patterns can be constructed, see the files here for TessieLettersACE, TessieLettersFQ, TessieLettersGJKMN, TessieLettersLL, TessieLettersTT, TessieLettersOSZ, and TessieLettersSingles. Many or these patterns were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. The TessieLetters are picture or dingbat fonts. For fonts of tessellating letter shapes that can be used for text, see the Tescellations family.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Choplin is a modern and clear geometric slab serif with a sturdy heart. It was designed based on the Campton Family, with the same principles in mind: geometry, simplicity and neutrality. As a consequence, Choplin could be seen as an immediate companion to the Campton Family. However, during the process lots of details were changed in order to sharpen the slab serif character which resulted in a slightly different interpretation. Similar to Campton, it is perfectly suited for graphic design applications ranging from editorial, corporate, web, interaction to product design. In addition, it has an extended range of alternative glyphs, ligatures and opentype features which provide flexibility and uniqueness wherever it is placed.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Cynosure Soft is a rounded, friendly version of Cynosur, a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces. The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

Joy Redick designed Blackoak, a big and heavy Egyptienne-sytle titling slab serif face, in 1990. The extremely robust style of the characters in this typeface was consciously distorted; creating letterforms that appear flattened and stretched, like a rubber band. Blackoak is drawn in the style of old wood tpes, just like those that one envisions when one thinks of the large, decorative posters that once filled Wild West America. The wood type collection of the Smithsonian Institute in Washington, DC acted as a primary source of inspiration for this design. True to its rooks, Blackoak is meant for use exclusively in headlines in very large point sizes, or for logos and other corporate advertising purposes.

CamingoMono is a modern monospaced typeface family of seven weights with matching italics, from ExtraLight to Black. Predominantly humanist in character, the typeface also has a technical feel thanks to the fixed proportions, while its semi-condensed width means CamingoMono is a great space saver in long passages of text. The default figures are noticeably lower than the uppercase letters, making them clearly distinguishable from one another. The typeface’s additional features include three different figure sets, slashed zeros and currency symbols, arrows and a handful of stylistic alternates. It is ideal for any technically-flavored text where an individual touch is desired, from advertising to corporate design. With CamingoMono, private and commercial correspondence alike will look neat and credible.

Aurore Grotesque is an elegant, robust geometric sans for both text and headline. It has a classic European heritage that references the posters of Cassandre and the modern sans of Paul Renner or Karl Gustav Möhring, but is entirely new and does not slavishly follow any historical reference. The low lower-case x-height gives it character and definition in running text, while the capitals-only Titling variant lends weight and punch to headlines. The full range of weights, each with matching italics, make it perfect for brochures, magazines, advertising, web, app and corporate uses. Includes lining, old-style and tabular numerals, arrows, stylised geometric alternates, and a full international character set.

Hello All.... Introducing!! Anatomia is a beautiful script with a new lovely stylish, a perfection style of the letters you want to use, modern handwriting with many alternatives. Now this is an opentype! It's smart and in line with your wishes! You are welcome to use it, suitable for various purposes: logo, signatures, corporate symbol, wedding invitation, title, creative, t-shirt, business card, letterhead, nameplate, headings, label, poster, news, badge, letterhead, cutting, hot stamping, quotation, etc. Anatomia Features 567 glyphs and alternative characters. Includes the initial letter to terminal, alternative, ligature and multiple language support. Programs that support OpenType features such as Adobe Photoshop CC, Adobe Illustrator CS, Adobe Indesign, Corel Draw, and Microsoft Office.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.