A versatile and elegant sans serif with a hint of Futura and a dash of Gill, but entirely its own design. Clear and legible in small sizes, refined and authoritative in larger sizes, Serenity is perfect for corporations, institutions, museums, galleries, editorial and publishing. Seven weights from a fine Thin to an impactful Heavy, plus italics, present a full range for all text and headline needs. Comes with full international character support, tabular and old-style numerals and alternate versions for the R, K, a and g.

Sacred Bridge is an old fashioned display typeface, inspired by vintage signage combined with ornaments that were inspired by certain Indonesian tribe ornament feels, because our little type foundry is focused on vintage display fonts. Till now at least. Sacred Bridges offers a layered system, with regular, rough and slant versions from each style. And don't forget about the Extras (ornaments) we offer. You'll get separate ornaments and objects that you can mix and match. We also give you most of our ornaments seen in our display.

Hiatus bridges the gap between formal scripts used for invitations and more classic settings and casual scripts that exude a warmer tone. Like many formal scripts, Hiatus is fully connecting. Its low body height combined with generous letterspacing adds an elegant profile to lines of text. Like casual scripts, Hiatus has a warm, hand-lettered appearance with great rhythm. Solid in structure; Hiatus also sets well at smaller sizes. Type enthusiasts will enjoy the variety of options. For optimal text flow, both letters and ligatures have alternate versions programmed to come in at the appropriate place for both beginnings and endings as well as in various contextual settings. In addition, there are variations and flourished versions of almost every letter and ligature. Some ligatures have as many as 12 variations. Also included are fractions, a set of old-style numbers, and a set of ornamental flourishes. Hiatus is a unique contemporary script with the strength of a time-tested classic. Please note that this version supports a wider range of languages compared with the lower-priced version available through other channels.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Marit Otto about C-Nation: The building typeface. Although the 70ties were very liberating and progressive, still girls played mainly with dolls and sweet things and boys with all kinds of challenging stuff. They did all sorts of basic scientific experiments in mini labs and of course built cool things with Meccano building sets. As a girl I was perfectly happy with the toys I had access to. But at the same time I was very curious about all the adventure toys and discoveries my brother did. It also made me wonder why the grown up people thought that our world could be separated so easily by separating our toys in pink and blue sections. At this day of age Meccano is probably hopelessly old fashioned and far to manual. Children of today are fed by fast images and cool animations on screen, they learn, play, communicate and relax in the same space, the digital space. The special feature of Meccano was that even though it was very basic there was the promise you could create anything. It might even contribute to a logical mind. The typeface I designed refers to the Meccano feel. It is a creative typeface. A bit masculine and bold looking perhaps but after the first impression a subtle and refined female touch is revealed. It has links to architecture and associations with metal constructions like ‘The Eiffel Tower’ and (old railway) bridges. I am convinced that we all think of that as very charming man-made objects.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Strong, hard lines inspired the name of this font, based on the "nuclear standard" set by the U.S. and the Soviets during the cold war.

Cartoonist JNL was modeled from a casual brush lettering style found in a catalog of lettering templates sold by the Wright-Regan Instrument Company (Wrico).

Since the 1800s, many patents were issued for methods to hold papers together. The two most popular and enduring tools still in use today are the stapler and the paper clip. In recent times a number of clips in novelty shapes have been available in just about every size, shape and color imaginable. Back in the beginning there were many variations as well, but the purpose of these design variants was to try and command the majority of sales in the fledgling market of bent wire clips by offering a unique and hopefully better product. Fastenating JNL contains twenty-five images based on those early clip designs as well as one classic paper fastener (on the Z and z keys). The standard gem clip has been the most enduring design and is well over one hundred years old.

It's nice when a font provides old style figures, small caps and alternate letters. But what to do if my typesetting program doesn't support Open Type features? The solution may be old-fashioned, but it's effective: the variants are placed in separate font families: Standard, Old Style Figures (OSF), and Small Caps (SC). Any word processor can handle it. As a special feature, my OSF fonts also contain alternative letters such as a looped g or descenders in the italic f.

Here is a boxy, extremely squared alternative to display designs like Eden or Glamour. In comparison, Centric Serif does not share the fragile and delicate nature of these old 1930s classics. Instead it is fairly robust with a splayed M and a simple flattop A. It is interesting to note that Centric Serif (unlike Centric Geo) sports serifs in exaggerated and curiously bizarre ways. Centric Serif is now available in the OpenType Std format. Some new stylistic alternates and historical forms have been added to this OpenType version. Advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Here is a boxy, extremely squared alternative to display designs like Eden or Glamour. In comparison, Centric Geo does not share the fragile and delicate nature of these old 1930s classics. Instead it is fairly robust with a splayed M and a simple flattop A. It is interesting to note that Centric Serif (unlike Centric Geo) sports serifs in exaggerated and curiously bizarre ways. Centric Geo is now available in the OpenType Std format. Some new stylistic alternates and historical forms have been added to this OpenType version. Advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Hurson consists of two font styles, Hurson Rough (previous version) and Hurson Clean (latest version) This font gives a feel of vintage, classic, old, handmade looked like. Already PUA Encoded and I think this font is perfect for people looking for vintage aesthetic or handdrawn logo. Suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc. What the Advantages? - Simple installation - Support for MAC and PC - Opentype feature (support untuk Adobe Illustrator, Photoshop, Indesign, Corel Draw X6-X8, and other software support opentype) - Support for 22 Language: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish and Zulu.

Roberta goes back to the old poster fonts of the 1930s. It is an excellent alternative and combination to fonts like Arnold Böcklin or Hobo. Ralph M. Unger redrew and digitized this font in 2003. His work is based on artwork taken from old font catalogs.

Please welcome, KEHLIN!, a time machine font for you to get back to those magnificent era for the sake of old retro and vintage stuff. An implementation from the old store sign and vintage advertising. Perfectly fit for your headline content, logo, branding, posters, anytime - anything, oldsport :)

Techno Retro JNL looks like a design straight out of the 1980s, but it actually appeared as hand lettering on a sheet music cover for the circa-1940s edition of the song "To You Sweetheart, Aloha", proving the old saying that "everything old is new again".

AZ Union font was inspired from an old vintage tin from the early 1900's This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. Ideal for use as headline or sub-head text in you design.

Moonbandit Font Foundry presents, Cafe Lumen. This elegant and unique typeface is inspired by the cool and relax atmosphere of an old vintage cafe luminated by an old dimmed lights and moon light. Cafe Lumen high contrast design fits well as a decorative and beautiful theme.

The lettering found on an 1878 Salt Lake City advertisement for the Forepaugh’s Circus inspired Faux Pas JNL, which is a bit of a pun on the circus’ name and also a commentary on how this unusual lettering style seems to break all of the rules on stroke width and balance. According to Wikipedia: “Adam John Forepaugh (February 28, 1831 - January 22, 1890) was an American entrepreneur, businessman, and circus owner. Forepaugh owned and operated a circus from 1865 through 1890 under various names including Forepaugh's Circus, The Great Forepaugh Show, The Adam Forepaugh Circus, and Forepaugh & The Wild West. In 1889, Forepaugh sold his circus acts to James Anthony Bailey and James E. Cooper and he sold his railroad cars to the Ringling Brothers. The Ringlings used the equipment to transform their circus from a small animal-powered production to a huge rail-powered behemoth, which later purchased the Barnum & Bailey Circus. Thus, in liquidating his circus assets, he indirectly contributed to the demise of his arch-rival.” Faux Pas JNL is available in both regular and oblique versions.

Rebrand is all about geometry, a typography that boosts confidence. However, contrary to pure, cold mathematics, this font seeks a more jovial and friendly face. The goal with Rebrand is to offer a Geometric Sans Serif font that can work in various instances, from symbols and titles, to text, and everything in between. It also creates a whole lot of personality, ideal for branding. There are two versions: Display, which is more fluid and dynamic with nine programmed weights for a wide array of intensity. This version also has various alternative characters and swashes. Text, which has the same attitude as Display, but is a little more serious with seven programmed weights to provide distinctive extremes and subtle variations among the mid-tones. Both cover basic Cyrillic and come in small caps. Both create one phenomenal typography: Rebrand.

"Chubs," a typeface specifically designed for large display sizes, perfect for making a bold statement. Each letter in Chubs has been meticulously crafted to possess a thick and prominent appearance, ensuring that your designs leave a lasting impact on viewers. Chubs's distinctive weight and blackness make it an ideal choice for a wide range of applications, including posters, packaging, and logos. Whether you want to create eye-catching promotional materials or design a powerful brand identity, Chubs has got you covered. Within the Chubs typeface family, you'll find two distinct styles, each with its own personality and visual appeal. The first style, "Chubs Black," features letters with a captivating slit, reminiscent of a belly that overlaps. This distinctive groove adds an extra layer of visual interest and uniqueness to your designs. On the other hand, "Chubs Filled" offers a solid and plump appearance, without the characteristic slit. This style amplifies the chubby nature of the letters, resulting in a bold and impactful display. To further enhance your creative options, both styles within the Chubs family include an alternate character set featuring a wink shadow in every letter. These additional characters provide a touch of fanciness and playfulness, allowing you to experiment and add unique elements to your designs. Choose "Chubs" for your next big project, and witness the boldness and charm that sets your designs apart from the rest. Let Chubs bring your ideas to life and make a powerful visual statement that captures attention and leaves a lasting impression.

Introducing SAFARI SQUAD, the bold and stylish font perfect for making a statement. With its solid and italicized design, this font is perfect for creating impactful and attention-grabbing headlines and logos. The unique selling point of SAFARI SQUAD is the quirky stylized animal print alternates for the uppercase and lowercase letters, which add a touch of personality and originality to your designs. These alternates give you the flexibility to switch up your design and make it stand out even more. For those who can’t access the alternates, SAFARI SQUAD SUB is the same font but using the alternates as the default, making it accessible for everyone. SAFARI SQUAD SUB also offers the same solid and italicized design, perfect for creating impactful and memorable designs that will leave a lasting impression. SAFARI SQUAD and SAFARI SQUAD SUB are perfect for a wide range of uses, from social media posts and website design to marketing materials and publishing projects. These versatile fonts are sure to make your content stand out, whether you’re creating a bold and striking headline or a unique and eye-catching logo. Make your designs stand out with SAFARI SQUAD and SAFARI SQUAD SUB, the bold and unique fonts that’s sure to elevate your design game. SAFARI SQUAD comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;'”,.\|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§† ÁÀÂÄȦÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢ ÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚ ÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäȧãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣ ıíìîïīįĵḱǩłḿṁńñňóòôöõōőøœṕṗŕřṙśŝšşșťṫț úùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ SAFARI SQUAD SUB comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;'”,.\|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§† ÁÀÂÄȦÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢ ÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚ ÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäȧãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣ ıíìîïīįĵḱǩłḿṁńñňóòôöõōőøœṕṗŕřṙśŝšşșťṫț úùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ

Hello Freeday is a striking display font that combines a bold and clean font weight with playful swinging endings. With its uniform letter proportions and unique character details, this typeface effortlessly balances sophistication and a touch of whimsy. The bold and clean font weight of this font commands attention and adds a sense of strength and impact to your designs. Each letter is meticulously designed with precise geometric forms, resulting in a polished and professional appearance. The consistent proportions of the letters contribute to the font's overall coherence, ensuring a harmonious and balanced visual experience. What sets this display apart is the charming swinging endings found in select letters. These decorative details add a hint of playfulness and movement to the font, injecting a touch of personality and delight into your designs. The swinging endings give the letters a sense of rhythm and flow, making Hello Freeday an excellent choice for projects that require a dynamic and captivating visual presence. The font's bold and clean aesthetic ensures legibility and readability, even at smaller sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Hello Freeday fits in headlines, logos, attention-grabbing titles, product packaging, greeting cards, branding materials, editorial layouts and website headers. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing "Masked Hero," a dynamic and commanding font that stands tall as a bold, oblique, all-cap typeface. This font is not just a collection of letters; it's a visual narrative of strength, speed, and superhero prowess. "Masked Hero" takes typography to new heights by incorporating uppercase letters adorned with intricate wing patterns, elevating your design into a powerful champions. The uppercase characters in "Masked Hero" aren't just letters; they're symbols of superheroic identity, each adorned with wing-like patterns that evoke a sense of flight and strength. These letters become the emblem of your design, embodying the essence of masked heroes ready to leap into action. To provide designers with unparalleled flexibility, "Masked Hero" is equipped with alternates for both uppercase and lowercase letters. This feature allows you to customize the appearance of your text, giving you the creative freedom to push the boundaries of typographic design. The alternates enhance the visual impact of your message, ensuring that every word becomes a statement. With a sharp and bold aesthetic, "Masked Hero" is tailor-made for projects that demand speed, strength, and a touch of superhero flair. Whether you're designing a logo for a masked vigilante, creating dynamic sports-themed graphics, or crafting the name of a superhero, this font is your ally in making a bold statement. Masked Hero offers you: 1. 4 options of letters, All Caps (All options of the characters are included in one font) 2. Numbers and Punctuation 3. Multilingual Support (Latin Western Europe)

Introducing "Melt," a captivating and versatile font that seamlessly blends boldness with soft, rounded curves, exuding an irresistible charm. This font is a harmonious fusion of cursive elegance, bold confidence, and modern trends, making it perfect for eye-catching headlines that demand attention. The Melt font family is thoughtfully crafted with three distinct selection font files, ensuring a range of creative possibilities: Melt Italic (Full Features): The italic variation of Melt boasts full features, providing a dynamic and playful touch to your designs. With its stylish slant and graceful curves, Melt Italic is ideal for adding a touch of sophistication to headlines, posters, and other creative projects. Melt Swashes: Elevate your designs with the Melt Swashes font file, where uppercase letters are replaced with delightful swashes. These swashes add a whimsical and artistic flair to your text, creating a unique and expressive visual impact. Perfect for adding a touch of creativity to logos, branding, and more. Melt Swashes Alt: For those seeking alternative swashes for uppercase letters, Melt Swashes Alt offers a distinct set of alternative swash designs. This variation provides even more versatility and customization options, allowing you to tailor your typography to suit the specific aesthetic of your project. Whether you're designing for a trendy website, playful branding, or vibrant marketing materials, Melt's bold, cursive, and rounded style, coupled with its three font file options, ensures that you have the perfect tool to make a lasting impression. Embrace the charm of Melt and let your headlines stand out with a delightful blend of modernity and cuteness.

Aure Nox inspires the chill whimsy of a haunted forest. The roughhewn forms of this decorative, sans-serif font engage the reader with a subtext of rakish charm. Surprisingly legible, Nox adds a bit of rebelious sass to text and titles, and a daring stance to astrological expressions and chartwheels. Nox is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Though Nox stands well on its own as a text font, the more traditional sans-serif forms of Aure Jane pair well as an innocuous foil to Nox's brazen presence. Give Aure Nox a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Introducing Enchanted Love - Elegant Sans Serif Typeface - 8 weights Enchanted Love is classic yet creative typeface loaded with 8 fonts, alternate and ligature glyphs to make you typography truly unique! Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, 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, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol -Hairline, Extra light, Light, Regular, Bold, Extra Bold, Black and Heavy versions Cyrillic support ligature glyphs alternates Multilingual support - 95 languages No special software is required to type out the standard characters of the Typeface. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

As its name suggests, Multiple is a family with multiple font styles. The idea that sums up the concept behind the typeface is “workhorse”. The challenge was to develop a useful font fit for any scenario and suitable for any design needs: editorial design, packaging, branding, screen use, etc. Multiple features soft, rounded shapes and large counterforms which make it well-suited for both text and display usage. The proportions are based on classic typefaces yet its design was specially created to provide a high degree of versatility. Multiple contains different stylistic sets whose variety of glyphs provides a wide range of choices for any design project. Partly humanist and partly grotesque, Multiple comes with a number of font variants that will help you choose the style that will best meet your needs. The font also includes a serif version with the same number of variants as its sans counterpart. The sans version includes 4 stylistic sets while its slab companion comes with 3 sets, both available as separate alt family packages (ideal for those seeking ready-to-use alternate glyph sets). These alternate characters are also available as OpenType features in the regular versions. Multiple comes in 5 weights—ranging from Extra Light to Bold - with matching italics, and contains a 395-character set that supports 207 different languages. Multiple: one font, multiple faces.

Oona is a joining script with that classic, elegant "Old England" touch.

A casual retro script refined and developed from some old handwritten letters.

Cowboy Serenade is an old classic Western font from about the 1870s.