Introducing Regitha Script, Thanks for checking out Regitha Script! A very fun yet elegant script font with lots of energy, it lets you create beautiful handcrafted typography in an instant. With extra curves & twists, Regitha Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers, weddings and anything else you can imagine. What's really awesome is that Regitha Script comes with a full set of lowercase alternatives, which allow you to create more authentic custom-feel text. This type has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Regitha Script! Feel free to use the #Black Studio tag and the #Regitha Script font to show what you've been up to, I really hope you enjoy it! Thank you!

The Mule is a very special mix – it has a donkey father and horse mother, and they often inherit the best qualities of both. "The mule is an example of hybrid vigor, Charles Darwin wrote: The mule always appears to me a most surprising animal. That a hybrid should possess more reason, memory, obstinacy, social affection, powers of muscular endurance, and length of life, than either of its parents, seems to indicate that art has here outdone nature." They are typically very strong for their size compared to horses and are able to cope with bad weather better than donkeys. Mules rarely become ill and their behavior is Intelligent and sensitive. In the right home, they can make great companions for other equines, and wonderful pets. However, if they are unhandled or not correctly trained, mules have the potential to be dangerous. The inner shapes of Mule Cargo are almost identical between the Regular and the Heavy weight. This shared genom make them very powerful pair and a useful design tool for display purposes.

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.

Bronson is a sans serif family that comes in 7 weights. The Bronson font has a very bold body, but still has high contrast. This font looks very modern when paired with contrasting design colors. This font is impressive and features a clean and elegant font, professionally shaped, and as a result, it will easily match a variety of creations that require a different touch. Add it with confidence to your projects, and you'll love the results. This typeface is perfect for elegant logos, branding, promotions, book covers, magazine layouts, or simply as a stylish text overlay onto any background image. Bronson Features : Uppercase Lowercase Numbers & Punctuation Multilingual Support Simple installation All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported. Please comment us if you have any questions Thank you and have a nice day. thank you

Hi Font Lovers! Bring back my newest font, Introduce Beautiful in White. Script! This is a modern font script. This font comes in a sleek and italic style, created very slowly for a neat result that will give this font a very elegant impression. There are 410 glyphs in it! so you can get used to it freely and follow the current trends. Please try and hope you enjoy it! With a style like this, this font is suitable for logos, branding projects, home appliance designs, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, congratulations. cards, and all your other beautiful projects. You can use this font for your work very easily. Because there are many features in it. Contains full set of lowercase and uppercase letters, punctuation, numbers, web fonts, and multilingual support. This font also includes several ligatures and alternative styles for the Stylistic Set for those of you who have software that can work with OpenType (Corel Draw / Photoshop / Illustrator / InDesign). Thank you for purchasing!

Hillstone is a handwritten font with a rough texture, the process of making letters with scratched with strong and fast stroke on paper to make the rough texture that characterizes of Hillstone, so this is a font with a rough and dry brush style. We repaired the letters computerically and if they didn't unite well and we made several alternate glyph. There is no problem for long or short text, so this font can be used in various designs widely. you can use this font for instagram, quotes and other long text, this font is also unique for one word text or short typing, that you can use for product brands, company logos, books and magazine covers, everytype will look very typical. use ligatures and alternatives to your taste.38. Anything made with this font will definitely be wrapped in a very contemporary style and elegance. We make several priview images as a guide for designing directions, please check them all Best regard and thank you very much.. 38.lineart studio

Adamant Sans on Behance. Adamant Sans: Specimen Manual PDF. Adamant Sans is a contemporary and very functional typeface. It stands out from the crowd with its uniquely designed rounded corners and beautiful italics. This carefully designed family consists of 18 fonts, including true italics. Its extreme weights, such as hairline and black are ideal for setting big and powerful headlines, while intermediate weights work very well in long texts at small point sizes. Weights are finely balanced so that they can be easily combined, depending on the type of paper and other conditions. Thanks to its proportions, high x-height and wide apertures, this typeface is very legible and suitable for setting books, magazines, newspapers, but is also valuable for use in large sizes, as well as for complex corporate projects. It supports advanced typographic features such as small caps, lining and oldstyle figures in proportional and tabular widths, fractions, ligatures, etc., and provides simultaneous support for Latin and Cyrillic as well as kerning for these languages. Adamant Sans is the ideal companion of the Adamant serif version.

Mairy font family is a modern sans serif font family. Featuring 9 separate weights each followed by own true italics Mairy is positioned somewhere between rounded sans with humanist touch. In fact the humanist presence in Mairy is a little bit more than the usual doze adding more calligraphic elements mostly noticeable in italic weights but also very important in regulars. This symbiosis of Grotesk geometry with handwriting is well balanced regarding contrast and legibility so that at the end we have a highly usable font family. Light weights are very tender and elegant while the old and blacks are soft, friendly and full of vitality. The mid weights are just perfect with their medium contrast and excellent legibility. Mairy is very fresh font family and is surprisingly flexible when it comes to screen or print use – it is optimized for both even if the conditions are poor. Use it with OpenType compatible software and explore its true potential by accessing additional set of ligatures, alternates and multilingual support.

If there was an American Typeface Hall of Fame, Bank Gothic, designed by the great Morris Fuller Benton would hold a place of special distinction considering this design has survived so many trends in typographic fashion since being introduced in 1930. It's just as desirable today as it was over eighty years ago; arguably more. Today, Bank Gothic is a very popular choice as a titling face for science fiction books, posters and countless television and movie titles. It is also a popular typeface for use in computer games and digital graphics. GroupType’s 2010 revival of this American classic is true to the design, the period, and Benton’s aesthetic. GroupType worked with some of the most talented and experienced type designers that were historically grounded and sensitive to this design project. Fortunately, Mr. Benton has left us a large selection of other great typefaces for insight and guidance. GroupType’s new revival includes the original three weights in regular and condensed style but also a new small cap and lowercase in each font necessary for 21st century typography.

If there was an American Typeface Hall of Fame, Bank Gothic, designed by the great Morris Fuller Benton would hold a place of special distinction considering this design has survived so many trends in typographic fashion since being introduced in 1930. Its just as desirable today as it was over eighty years ago; arguably more. Today, Bank Gothic is a very popular choice as a titling face for science fiction books, posters and countless television and movie titles. It is also a popular typeface for use in computer games and digital graphics. GroupType’s 2010 revival of this American classic is true to the design, the period, and Benton’s aesthetic. GroupType worked with some of the most talented and experienced type designers that were historically grounded and sensitive to this design project. Fortunately, Mr. Benton has left us a large selection of other great typefaces for insight and guidance. GroupType’s new revival includes the original three weights in regular and condensed style plus two new distressed fonts. All have a new small cap and lowercase in each font necessary for 21st century typography.

Tamba Sans has strong geometric frames. Somewhat condensed and somewhat squarish letterforms can create a powerful atmosphere. At the same time, the very clear, neutral and distinguishable letterforms make it legible and readable. With the spread of the internet, the digital world is overflowing with “designed” stuff. To survive this chaotic world as a designer, you should use a strong typeface to catch the eyes of an unspecified large number of visitors/customers. This is why it is so important to be strong and powerful. One more important thing is the legibility, but the eye-catching design has a tendency to be unusual. Those two things conflict with each other. Tamba Sans solved this problem with an exquisite balance. Tamba Sans consists of 7 weights and their matching Italics for a wide range of usages. Farther, Tamba Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also CSS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

Poetica font was designed by Robert Slimbach in 1992 with particularly generous characters. The typeface family consists of 21 weights to allow for an unusual variety of design possibilities within one typeface family. Numerous swash letters, ornaments and ligatures remind one of the early Renaissance and its unforgettable masters, for example, Giambattista Palatino, who later gave his name to Hermann Zapf's creation. Slimbach used the Lettera Cancellaresca as a model for his typeface, the cultivated humanistic italic which later served as a point of departure for the development of italics of the Renaissance and thereafter. Lettera Cancellaresca is very legible, extremely harmonic and impressively beautiful. The early forms display two different compositional tendencies, namely the static of the simple vertical capitals and the italic dynamic of the slanted lower case alphabet, as shown in the weight Chancery 4. The capitals later conform to the slant of the lower case, as shown in the weights Chancery 1-3. Poetica font should be set according to the included suggestion in order to see the full benefit of its grace and beauty.

Simple yet romantic handwriting, curly, rounded and legible - perfect for love letters or children books.

This is not a balloon - it is a happy curly fonts to make you smile.

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

Chery Santos feels equally charming and elegant. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates. Chery Santos is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite text editor / application.

Everyone loves an Art Deco typeface. And there are hundreds of similarly-designed deco faces out there! But not one of them seems to have every form of every character that you want or need at any given moment. That’s why Swonderful was created! It has more letterform variations than you can shake a stick at (if you're inclined to shake sticks at things). With four variations of every uppercase form, two variations of every lowercase form (plus diacritical characters for the standard set), you’re bound to find the character you need for any given project, whether the style is French Art Deco, American Streamline Moderne, or Jazzy Midcentury Gaspipe. Just switch between stylistic sets! And you’ll find all those characters in three standard weights: Light, Regular, and Bold. They’re designed as a unicase, so they’re all height-compatible, and every set works with every other set, so you can mix and match to your heart’s delight!

New foundry on the block, Hooper Type, kicks off it's catalogue with a versatile, story-telling serif font. With a love of the magical and a yearning for adventure, Istoria pushes away from the static, drawing in whisps and whirls that entice and excite, without distracting. Unassuming in it's long form, with delicate strokes that draw the eye, it commands attention when used in short punchy titles, or set in caps. Istoria (meaing both history and story in Greek) delights in having unusual curves, curvy straights and twisty feet which emulate those adventures and myths from days gone by. Type shouldn't interfere with the content, but it absolutely can enhance it. Hope you enjoy it!

Baumfuss and BaumfussTwo are unpolished, crude typefaces with small flared serifs and very few straight lines. They are a bit heavy to be easily readable at smaller point sizes. Baumfuss has a high x-height, while BaumfussTwo has a more conventional x-height.

If Publication JNL looks very familiar, this is no accident of design. It is Jeff Levine’s rendering of De Vinne, a classic typeface designed in honor of T.L. De Vinne (circa 1890-91) and given the gentle nuance of emulating hand-set type.

Friedhof family is inspired by a tombstone lettering dated from about 1900. Beside the solid, fat style, it contains handtooled and shadowed (Geist + Deko) variations, as well as narrowed & lowercase styles. Note: Very complex, shadowed fonts may not work on slow machines!

Vividangelo is designed after the handwriting of a real person. I saw it on the pricetags in a small shop and convinced the person to have her handwriting converted into a font. She is very happy about it now, so am I.

The Toxic Brew font was initially designed to be a Halloween font, but I guess it turned out not so scary in the end. But maybe you can use it for something scary anyway? I've added several versions, and they mix very well

Mars Wars is a futuristic display font. Thanks to its original technological outlines, it is well suited for logos, packaging, posters and much more. Mars Wars has very wide language support. It has expanded Latin and expanded Cyrillic. The font supports 80+ languages.

"Bandit Crime" is an elegant and professional graffiti font. This font is equipped with uppercase, lowercase, numerals, punctuation, and multilingual support. Very suitable for logos, stickers, banners, branding, tattoos, Christmas, urban art, street art, wall art, film titles, business branding, and others.

Ratatouille was inspired by wooden faces of old with pointed serifs. Very suitable for Packaging greeting cards magazines posters and Advertising Ads. Designed in four weights from Extra-Light to Bold including Italics, covering a large range of editorial and advertising applications.

"Runegrim" Font is Base in Anchient Viking Rune Script . This font is best as Clothing , apharel and any handicraft. This font is Very useful for the the people that not familiar with Unicode format of anchient font. Thank You for use this font.

Serabut Brush! A fresh and natural font ready to give your design project looks great. This is very suitable for a beautiful tagline, title, cover book, logo, some of the daily quotes, invitation, poster, and any design project that needs natural touches.

Chedros is a display typeface with playful taste. It comes in two different weight, regular and bold so you can use them to your heart's content. Chedros very suitable to use for headlines, wordmark, prints, logotype, young and playful design or anything else.

Hey Comrade is a very messy script font. It was made with a bamboo satay skewer (which I had soaked in ink). Hey Comrade would look good on book covers, packaging and in magazines. Comes with a 5-year plan of diacritics.

Introducing of our new product the name is Berlion a Handwritting Script Font, Berlion inspired by Bouncy Calligraphy style with a fun theme very good for Logotype, kids poster, flyer, childrenbook, cartoon, comic etc FEATURES : Uppercase Lowercase Number Punctuation Multilingual PUA Encode Opentype

Introducing of our new product the name is Stone Ocean a Bouncy Square Font, Stone Ocean inspired by Playful style with a fun theme very good for tropical, kids and playful theme design. FEATURES : Uppercase Lowercase Number Punctuation Multilingual PUA Encode Opentype

The 1918 specimen book of the Miller and Richard Type Foundry of London and Edinburgh featured this endearing typeface. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets, as well as a very tasty f_f_i ligature.

Aroma Beauty is a luxury typeface, full set of lowercase and uppercase letters, numerals and punctuation, multilingual symbols. Very suitable for the title, logo, typography, clothes, magazines, brochures, packaging and much more for your design needs, making your designs more modern and professional.