California Street is the perfect handwritten font: Sweet, innocent, light and charming, this one-of-a-kind typeface will add a unique charm to any design project! California Street font was created to look as close to a natural handwritten script as possible by including 64 ligatures. With built in Opentype features, this script comes to life as if you are writing it yourself. You can see it in the picture shown. A wide range of swashes (a-z) and alternates (A-Z, a-z) are included so that you can give your logo or name a custom, hand-calligraphy look. This font is available in 10 fonts in 1 typefaces : Thin, Light, Regular, Semi Bold, Bold, Thin Italic, Light Italic, Italic, Semi Bold Italic, Bold Italic and most importantly, California Street is perfect for you.

Ganges is a condensed sans serif typeface inspired by Central European advertising typography from late XIX century. The font has condensed proportions and original letter shapes. Ganges is designed mainly for editorial design, especially for display use, as well as short paragraphs of text. Its narrow proportion makes it very practical to use for posters and magazine covers. Characteristic letter forms fit great for branding, logo and packaging design. It is also a very interesting choice for websites and e-book headlines. Ganges family consist of 27 fonts - 9 weights, 9 italics and 9 obliques. It supports extended set of latin languages, as well as broad number of OpenType features, such as case sensitive forms, standard and dicretionary ligatures, stylistic alternates, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

The different fonts in the Why Square family are an extension of the designs begun in Zoran Kostic's Just Square family. Why Square's lowercase letters are all more condensed versions of Just Square's letters, and in some of the fonts, the uppercase letters are wider. The first five fonts are the different weights of Why Square (UltraThin, UltraLight, Thin, Light, and Regular). Here, all of the characters--both upper and lowercase--are more condensed versions of the geometric letters from the Just Square family. The next five fonts (UltraThin, UltraLight, Thin, Light, and Regular weights) include identical lowercase letters to those from the first five fonts in the family, but their capitals are considerably wider. These may be used as initials, either with the other fonts in the Why Square family, or with the Just Square family.

Bredagh (pronounced Braid-ah) is a happy font! It can bring a smile to your face, yet is at one with science and mathematics and the Arts. The first presentation is in a Poetry book. Overall, it is a strong and capable font. The organic nature of the font Breadgh is in Nature itself, with the roundels as found in the cross-section of a tree, for example, both circular and rounded oblong shapes, influencing. Accordingly, some of the characters are of a condensed nature and some are not. The lower case does not have the condensed aspects but the numerals do. In the creation of Bredagh, it was the dynamic between all of these that was part of the challenge. And to make them all work together subtly to be in overall harmony—was the ultimate challenge.

This elegant condensed serif display typeface is perfect for designs that require a touch of class and nostalgia. Inspired by ancient concepts and the nostalgic classic era, Thronemy Font adds a timeless and sophisticated look to any design project. The condensed serif design of Thronemy Font is both elegant and easy to read, making it perfect for headlines, titles, and other design elements that need to be easily understood. Plus, its retro style is perfect for creating logos and headings that will make your designs stand out from the rest. Thronemy Font is a versatile font that can be used in a variety of design projects such as invitations, posters, book covers, packaging, magazine layouts, and more. No matter what your project requires, Thronemy Font can help you achieve a timeless and sophisticated design that will leave a lasting impression.

I set out to design a contemporary font that is condensed with thick and thin strokes. The highly structured forms of this condensed font was made more interesting and softer by giving it a slightly calligraphic tone and by adding round corners. Atto's express purpose is to be both utilitarian, compact and technical but with a friendly face. The name "atto" was adopted since it refers to the measurement of "smallness" or detail. You will no doubt discover all the many pleasant nuances within Atto. Adopted in 1964, "atto" comes from the Danish "atten", meaning eighteen. Atto - (symbol a) a SI prefix to an unit and means that it is 10 to the power- 18 times this unit. Examples are one attosecond or one attometer/attometre. Atto is available in for Mac and Windows in Postscript, Truetype and Opentype.

Introducing the logo font called Yackien. This font is made for branding and logo font purposes, but still elegant for other design projects. In the Indonesian language Yackien (yakin) means believing, trust, and convincing. So Yackien can give off an aura of trust, believe, convincing in your brand's logo and designs. What's the included: - Yackien font and swash - Yackien logo doodles - Multilingual, support 27 languages - PUA encoded - Opentype features I hope you enjoy using Yackien. Please let me know at java.indonesian@yahoo.com if you have any questions.

Thanks for checking out Faith and Glory! These 2 hand-painted brush fonts are designed to perfectly combine with one another and allow you to create beautiful rustic typography with a personal touch. Ideal for; Logos, printed quotes, invitations, image overlays, greeting cards, product packaging, text headers, & whatever else your imagination holds! Faith and Glory One Is a script font which includes upper & lowercase characters, punctuation, numerals, and multilingual support. Alternates are available for several lower case characters, these are accessible by turning on 'Stylistic Alternates', or via any software with a Glyphs panel. Faith and Glory Two is a condensed brushed font containing uppercase only characters, punctuation, numerals, and multilingual support are also included. Alternates are available for key characters, you can access these simply by switching between upper & lower case glyphs within the 2 fonts (e.g. typing 'A' and 'a' will give you 2 alternate characters).

A bold powerful design with a bit of Latin flare, great for headlines yet suitable for text.

Hans Bacher created a comic styled caps only font with the movement of his bold lettering stylus.

Rounded, tapered and bold, Bindle was designed as an alternative to overused or outdated informal sans serifs.

One of the classic display types of the 19th century, an Egyptian with slab serifs. Quite bold.

A revival of one of the popular of the early 20th century fonts, suitable for bold text.

A Bold new re cut of Bodoni, designed with a more contemporary look. Also has matching Italic.

Brutal is a not stencil calligraphic typeface designed in light, regular and bold. language: all latin glyphs

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. Quite bold.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Organic versus geometric are two different universes that converges on nature systems and has its reflection on this new sans serif typeface. Frambuesa is a half humanist-half geometric sans that merges decorative curves with straight lines looking for a balance. The result: a solid but somewhat romantic, nostalgic type program that go ahead harmoniously, dancing to the rhythm of a naturally imperfect melody. Frambuesa can’t hide its family genetics. Structure and proportions come from Elisetta, her older sister they so both have a really good text performance. Regular variables and italics feel comfortable in a lot of contexts and are useful for little words or big title compositions. All seven weights are carefully adjusted to achieve soft transitions between one and the other resulting in high readability levels on program combinations and complex uses. This new font family name is a tribute to Lucia’s childhood, a very happy one. Frambuesa honors this sweet intense red fruit that her grandpa’s Coco gave to his grandchildren every Sunday in the summer.

This script font was inspired by the type most commonly used during the period 1300s to 1500s. It is a compromise between historic truth and contemporary use. We particularly thank very much the Paris Sorbonne University professor who gave us freely and patiently numerous and valuable advice and criticism for this work. This font includes “long s”, naturally, as typically medieval, a lot of ligatures as “ff, ffi, fi, ft, sd, pp...”, some special glyphs frequently used as abbreviation in Latin texts during the medieval era for replacing letter groups such as “qui, qua, que, quia, quam, per, pri, pre...”, but also a few final and initial characters and final addable loops. Instructions for use, added, helps to identify them on keyboard. It can be used for web-site titles, posters and fliers design, editing ancient texts or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious font... This font remains clear and easy to read over a wide range of sizes. Its original medieval size is about 18/24 points.

»XPress« is a very distinct, expressive, typical new Sans. »XPress« is my new Sans-Serif that impresses – especially in small sizes – with its outstanding readability. Seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. »XPress« got its bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. »XPress« ist eine individuelle, expressive, typische neue Sans. »XPress« ist meine neue Serifenlose die – speziell in kleinen Schriftgraden – durch aussergewöhnliche Lesbarkeit auffällt. Sieben präzise aufeinander abgestimmte Schnitte von »Thin« bis »Heavy« und dazu passende Kursive machen die Schriftfamilie vielseitig einsatzfähig. »XPress« orientiert sich bewusst an den grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar.

Carta Marina is based on the titling found on the famous map drawn by Olaus Magnus in 1539. The map of northern Europe took 12 years to complete, and the total size is a huge 1.7 meters tall by 1.25 meters wide. More information about the map, as well as the high resolution reference document used to create the typeface and illustration set can be found at the James Ford Bell Library, University of Minnesota. The titling is slightly aged, very sturdy and elegant. Carta Marina includes a full set of OpenType alternates for every character in the English alphabet, oldstyle figures, historical forms, small caps and 64 discretionary ligatures. These ligatures are used to alter the appearance of the type so that the printing appears realistic and without any duplicate letters to detract from the antique appearance. The Carta Marina family also includes some of the unique illustrations that gave the map its character. It includes depictions of fanciful sea creatures, land animals and some of the inhabitants of the lands pictured.

I present to you the universal everyday font 'Kit Cloudkicker'!! This font is very versatile and can be used in various styles of projects where a fast relaxed handwritten font is required. Filled with fun and energetic brush strokes, this font will undoubtedly add a touch of playfulness to your text - perfect for greeting cards, branding, merchandise, invitations and handmade quotes! The 'Kit Cloudkicker' font is so easy to use and create completely unique, hand-made words every time. It looks so great!! Font Features A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love and magic ♡ Thanks for checking it out, and feel free to drop me a message if you had any queries! ~ Anastasia

Sintesi Sans. Sans meets serif. Are you looking for a robust, contemporary but nonetheless an elegant font? Sintesi Sans might be exactly what you are looking for. Sintesi Sans builds together with Sintesi (SemiSerif) and Sintesi Semi an extended family. However each of the three member of the Sintesi-family accomplish the «synthesis» between Sans and Serif on its own way. Sintesi Sans scores because of its readability, robustness and contemporary style. It is a true Sans Serif and therefore really flexible, universally applicable especially as a body text font and in a broad number of other applications. Worth mentioning is the particularly slim «Extrathin» style, which elegance is not to be outbalanced. Thanks to the good readability and the wide set of styles and glyphs, Sintesi Sans suits to a wide spectrum of applications. Download a free trial package of the extended family with a reduced character set – check it out! Download a free trial version of Sintesi Sans with a reduced character set. Check it out!

ACEISIDA is a font that supports over 100 languages from around the world. Basic and some Extended Cyrillic, Basic, Additional and Extended Latin, Basic Greek, and some newly added characters recently entered into use in everyday life. ACEISIDA is a font that elegantly combines the timelessness of antique design with the modernity of the grotesque. The absence of serifs results in a universally readable and sophisticated format. It was designed to focus on the main text, complementing other design fonts without disrupting them. This font is perfect for those who appreciate minimalism and refinement, and its smooth lines make it suitable for various design projects. It adds understated elegance to any design, making it the ideal choice for those who value simplicity, modernity, and sophistication. The font includes many glyphs for the Kazakh language, catering to the ongoing transition to the Latin script and accommodating various spellings. It also features a basic set of characters and glyphs with accents for the Greek language and an uppercase version of the letter “eszett” for German.