Partially inspired by the mid XIX century german condensed serif typefaces –and a clear connection to Italian classics– Magari extrapolates that idea of fusion to a new level, getting a unique variable font file, or 9 specific weights. With that in hand the user is able to find the perfect match for any design. From an ultra compressed thin to an extended black style, Magari is a perfect font for display use. It’s jazzy vibes and wide range of weights make it incredibly perform in advertising, packaging or editorial design, assuring great impact whether it’s thin and tall, or big and bold. The addition of three kinds of endings for the lowercase –from a serif to two tailed strokes– and two different swash sets for the capitals, Magari lets the user play with infinite results.

Telemark is a monolinear slab serif influenced by the wide serif typefaces of the 19th century. The name refers to the vintage form of skiing which was introduced in Norway at the same period of time and allowed more fluid turns. After the Telemark style was replaced by newer techniques in the Alpine countries it has experienced a rise in popularity in recent years. The Telemark type family features the three weights in an additional label style which allows an uncomplicated creation of editable pointers, banners and cartouches. Different combinations of end pieces result in a great variety of designs. Telemark is suitable for headlines and logotypes and complements script typefaces as well as any neutral grotesque. Details include 207 characters in three weights, a total of six styles and manually edited kerning.

Alias Vertical is a sans serif typeface with a vertical cut-off point for letter endings. The vertical cut-offs bend round characters (b, c, o, etc) into a squarish, high-shouldered shape, suggesting Roger Excoffon’s Antique Olive. In mid-weights, the typeface mixes Antique Olive with typefaces such as Gill or Johnston, for example the shape of the t, the l borrowing Johnston’s flick. Vertical has the same minimal difference in weight between verticals and horizontals as Gill and Johnston, and the same sharp connection point where curves meet straight lines. Like Antique Olive, Vertical has a narrow connection point here, adding contrast and definition. The overall effect feels austere at lighter weights and strident and graphic at bolder weights, and sharp and incised throughout. In the Bold and Black weights, the squarish and top heavy shape of Antique Olive is most noticeable. For example the wide uppercase, with the B having almost-even width between top and bottom curves, and the almost-overhang of the top curve of the G. But Vertical does not have as extreme an aesthetic or square shape as Antique Olive. As well as its wide design, the upper case is given extra authority by being a slightly heavier weight than the lower case. This is a device borrowed from Gill, and other ‘old’ typefaces, where the upper case is presented as a titling design. Modern sensibilities are more focussed on an even colour between upper and lower case. Vertical was originally intended as a sister typeface to Ano, like AnoAngular or AnoStencil. Vertical developed into a similar but separate design. Ano was designed for use in Another Man — in its modular, circle-base design, and the way there aren’t the amendments usually made in bolder weights to ensure letter clarity. This is for layouts where different weights are used together in different sizes so that the overall letter weight is the same, a feature of the magazine. Where Ano is simple and graphic, Vertical has nuance and texture. It is a pragmatic, utility design. In the balance between graphic and typographic, its focus is the latter.

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.

Kamui is a font designed by Carlos Fabian Camargo G. and used to write headlines. Its strategy makes it ideal for covers and advertisements with Japanese-style manga comics requiring latin style. Precisely its purpose was inspired by typographical classics such as Mistral by R. Excoffon and Zapfino by H. Zapf that then were diluted by separate strokes as blackletter calligraphy. However, high doses of miscegenation and lettering untimely torn between 50% esthetic and 50% legibility. That way his radical expression is highly profitable for composing and designing words and phrases with Eastern look. And more importantly, the writing seems drawn quickly with thin-tipped brush staining over a rough surface, from that process comes the idea of corroded outlines and changes in contrast. In conclusion, some diagonal strokes, horizontal, curved and vertical stand or hide from their simulation of scarcity or abundance of ink clots. That way each stroke seems inconsistent, footprint of the 423 brush drawing glyphs in Regular Kamuy. In that sense, the OpenType features included are: Standard Ligatures, Contextual Alternates, discretionary ligatures, swash, stylistic alternates, alternatives for titles, ordinals, fractions. And to end the Variable “Kamuy Dingbats” has is 52 fictitious drawings and zamurais.

Speakeasy is a 5-font combo thematically built as a toolset for designing menus and liquor labels as well as coffees, restaurants and signs when the desire is to communicate with style. Originally put together to be used by the most famous speakeasy in Buenos Aires, this set contains a script, a minor (almost flat) wedge serif, a flare serif, a sans serif, and a bold Didone. The seed for the script was found in a German lettering book, and the other fonts reflect the familiar advertising and announcement styles of the early 20th century. The Speakeasy script comes with two different ways to connect the letterforms. Also included are many alternates, swashes, endings and flourishes — all accessible via OpenType features or glyph palettes. Speakeasy Modern and Speakeasy Flare are small cap fonts, and come with a few alternates. Speakeasy Sans and Speakeasy Gothic come with full sets of majuscules and minuscules, but contain small caps and a few alternates as well. A few rules and ornaments are also sprinkled throughout the set. This combination of fonts worked wonderfully for the project that called for it. Hopefully it will work just as well for your project.

Straight from the beauty product ads of the 1960's comes Montez Pro, full of sweeping strokes which lend to a feeling of joy and elegance throughout its letterforms. It is the ideal font for display uses that require a little drama, "joie de vivre" or Joy of Life. The stylings of the standard typeset Montez Pro lend itself to holiday and celebration designs most effectively. And while it is usually a typographic no-no to set a script in all capitals, Montez Pro contains a small caps feature that has specially redesigned capitals that allow an appealing all capitals setting. Montez Pro is loaded with features to give you plenty of customisation options: - Stylistic Alternates offer variations of the L, t, and w-smallcap characters - Small Caps offer tailored back and normalized short capitals - 44 Ligatures to make typesetting more interesting - A Full set of Inferiors and Superiors for Limitless Fractions - Proportional and Oldstyle numeral sets

TT Firs Neue useful links: Specimen | Graphic presentation | Customization options TT Firs Neue is reborn! We have rethought the font to introduce the next-generation typeface. After analyzing each contour and graphic element, we rebuilt the font, preserving its best features while making any necessary adjustments. We have created a flawless and modern sans serif using the new technical capabilities of the studio. TT Firs Neue is a Scandinavian sans serif that combines expressive graphic elements with the versatility of use. In the latest 2023 edition, the font's display elements have become even more attractive, while the overall font balance has also been improved. This is the result of the visual research we did before working on the update. Here is what has changed. The visual elements of the font are now logically coherent. We got rid of the ones that did not suit the font's concept and kept the most attractive ones. The changes affected letters with diagonal strokes "M, N, И", and figures "2, 3, 6, 9". All round characters' shapes have been standardized for all font styles. In the previous version, all glyphs looked different: more square or oval, depending on the font's weight. We made the shapes consistent for the font to feel more integral. Glyphs containing bowls have also changed. We have worked on the balance, altering the height and shape of the bowls. Like rounded ones, we aspired to make the glyphs more balanced for all font styles. The shapes of the letters "J, M, N, S, W, З, И" and Black font style characters have changed. The individuality of these glyphs was slightly different from the whole set, which became apparent in larger sizes. We have improved the shapes and made them more suitable for the font's style. Letters with diagonal strokes and triangular glyphs, such as "A, V, Y, D". We have brought the characters to a consistent logic in their shapes by refining the angles and weight of diagonals in different font styles. The glyphs' terminals follow the same logic in the new version. We have preserved and perfected the old shapes. Ligatures and stylistic sets have been updated entirely and expanded. We have researched Scandinavian languages and designed ligatures and diacritical sets that would definitely be useful for designers. We have redesigned diacritical marks, figures, and punctuation marks. Now all characters follow the same logic and contribute to a well-balanced impression of the font. The character set in each font style has been increased from 934 to 1719, and the number of OpenType features—from 24 to 40. The new font includes 23 font styles: 11 roman, 11 italic, and 1 variable font. The variable font has also become a significant technological advancement for TT Firs Neue. We retained a warm sentiment towards TT Firs Neue's previous success while redesigning the font and implementing substantial alterations. The 2023 font has been developed according to new technical standards that have become significantly higher in the past 5 years. TT Firs Neue is a font well-suited for a wide range of contexts. It can be used for headings, text fragments, visual merchandising and building decoration, and the web. The font is visually aesthetic on podcast and video covers and is an ideal choice for packaging design and brand identity. TT Firs Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, c2sc, smcp, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19, ss20, calt. TT Firs Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Zyrian, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Udmurt, Uighur, Rusyn, Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk.

Type designers have been integrating the design of sans serifs with serifed forms since the 1920s. Early examples are Edward Johnston's design for the London Underground, and Eric Gill's Gill Sans. These were followed by Jan van Krimpen's Romulus Sans, Frederic Goudy's ITC Goudy Sans, Hermann Zapf's Optima, Hans Meier's Syntax and Adrian Frutiger's Frutiger. Now, ITC Stone Humanist joins this tradition. It is a careful blend of traditional sans serif shapes and classical serifed letterforms. ITC Stone Humanist grew out an experiment with the medium weight of ITC Stone Sans, a design that already showed a relationship to these sans serif-serif hybrids. ITC Stone Sans has proportions based on those of ITC Stone Serif, and its thick-and-thin stroke contrast suggests the bloodline of humanistic sans serif typefaces. But other aspects of ITC Stone Sans are more closely aligned to the gothics and grotesques, a tradition that accounts for the largest portion of sans serif designs. Enter ITC Stone Humanist. During his experiments with the earlier design, Sumner Stone recalls, I was actually quite surprised at how seemingly subtle changes transformed the face," moving the design firmly into the humanist tradition. "The form of the 'g,' 'l,' 'M,' 'W,' and more subtly the 'a' and 'e' are part of the restructuring of the family," he explains. The top endings of vertical lower case strokes have been cropped on an angle, as have the ascender and descender stroke endings. ITC Stone Humanist is a full-fledged member of the ITC Stone family. It has been produced with the same complement of weights, and the x-heights, proportions, and underlying character shapes are completely compatible with the three original designs. The original ITC Stone Sans is a popular typeface, in part because of its notable versatility. ITC Stone Humanist shares this virtue, and can be used successfully at very small sizes, in long passages of text copy, and even as billboard-sized display type."

Meteora is a font designed for headlines by Carlos Fabian Camargo Guerrero. Its purpose is to be useful tool for solving decorative problems in graphic design which require broken letters without ascending and descending strokes. Due to its vertical and horizontal proportions these letters are compact, appealing and special to compose headlines and featured with worn look in covers, magazines, posters and advertising material. The first Meteora sketches were made by hand, photocopying and deforming letters of an old Letraset catalog, specifically from slab serif typefaces from the Nineteenth Century. Hence, uppers cases and lower cases were merged in the same height x, obtaining a narrow width, endings with some serifs and stencil cuts here and there. The amount of low contrast between thick and thin strokes brings strength and consistency with the contours apparently brokens. Thus, developed features slab serif and sans-serif proposing empty and full shapes connoting decomposition and noise; and from a rigorous process of scanning letters I set up damaged letters, but drawn with the greatest possible thoroughness and high definition in 438 glyphs per font. Finally, in regular and bold variables I included opentype features with some discretionary ligatures and a few titling alternates. In Meteora bold all glyphs are framed simulating the effect of letters cut out of paper.

Painted Gallery is a Modern Handwritten Font. Painted Gallery is a cute, friendly and trendy handwritten font. Add it confidently to your projects, and you won’t be disappointed. Painted Gallery also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email.

Magic Clause is a Modern Handbrushed Font. Magic Clause is a cute and friendly handwritten font. Get creative with its childlike playfulness, and use it to Magic Clause also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Introducing Horror Fables Typeface – A display typeface that oozes dread and unease with every letterform. Designed to send shivers down your spine, it's the ultimate choice for all things horror, creepy, and spine-tingling. Horror Fable" will infuse your work with an eerie aura that keeps your audience spellbound. Features : Uppercase & lowercase, Numbers and punctuation, Alternates & Ligatures,Multilingual, & PUA encoded

Miguelito is a Modern Handwritten Font. Miguelito is an elegant script font with a contemporary atmosphere and impeccable form. Not too thin and not too thick, balanced and varied, this font was designed to enhance the beauty of your projects. Miguelito also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Roleyfox is a Bold Monoline Script Font. Roleyfox is a cute and frail handwritten font, described by an elegant touch, perfect for your favorite projects. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! Roleyfox also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Gustavo Eastwood is a Handwritten Script Font. Gustavo Eastwood is a beautiful and refined script font. It has a classy, elegant and modern look that can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more! Gustavo Eastwood also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Show Card Deco JNL is a hybrid of examples from hand lettered titles found on various song folios from the Carl Fischer Music Library circa the 1930s and is available in both regular and oblique versions. This particular typeface lends itself perfectly to show cards, posters, headlines and display titling which captures the modern, streamlined design of the Art Deco era.

Rocksider is a Modern Handwritten Font. Rocksider is a stylish, cool and casual looking handwritten font. It has a classy, elegant and modern look that can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more! Rocksider also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Meet Princess – a loose and casual script font. This font has a whimsical fairy-tale feel and works great anywhere you want to communicate a little special design magic! The delicate hand-drawn forms also lend themselves to fashion or holiday themed designs. Princess includes a set of custom eleven ligatures as well as accented characters, numbers, punctuation, and symbols.

Creative people tend to mix printing and cursive, i.e. some letters connected, some not. Why? Who knows? Handwriting analysts have a field day with this sort of thing. Have a field day of your own with Dempsey, based on the writing of Tucson film teacher, media artist and programmer, Vikki Dempsey. It’s fun, assertive and will make you look even more creative.

If you wanted to send out a party invitation in 1923, Barnhart Brothers & Spindler recommended this typeface, which was originally called, simply, "Greeting Card". It also appears to be suitable for greetings from Mars. Available in two weights, regular and bold. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Paulo is a versatile display font with a modern take on the classic split bifurcated design. The clean, sleek look lends itself to logos and headlines. Created to feel familiar and new simultaneously, Paulo has a versatility that can invigorate your traditional designs with a fresh spin, giving them a timeless and modern feel. Its vertical nature and clean, swooshy serifs, create a rhythm that helps draw the eye. Paulo suits various design styles, from urban to an upscale look and feel.

Kimora is a sanserif typeface with a relaxed yet elegant tone. It’s a versatile font that can be used in both formal and informal settings. Because this typeface is comfortable to read, every message you send will be readily read and comprehended. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

FuturaClassic is a recut of Paul Renners original Futura. This version was what Mr. Renner wanted the Futura to look like. He had to change his very stringent design because the market wanted a more pleasing typeface. I think the original design is worth saving because it is much more typical and has a personal and distinguished touch. I have also designed Geometra Rounded with rounded endings that looks more interesting than your usual DIN type Yours trying to save the typographical past Gert Wiescher

Camp is a rough-hewn, woodsy font that gives new meaning to logging on to your computer. With engraving-like, hand-rendered details, it harkens back to frontier days and simpler times. Whether gliding across a placid lake or trekking through untarnished nature, Camp will let you see the forest among the trees. A family of 5 fonts gives you the option of printing a single color outline w/drop shadow or up to four different colors using the shadow, fill, ends and outline variants.

Ripe Apricot is a display typeface with flared semi-serifs. The design was created by renowned Armenian type designer Manvel Shmavonyan who gave to the typeface such a name not because of some associations with letterforms but just because the end of the long work happened at the time of apricot maturity in Armenia. The font family consists of four standard styles. It can be recommended for use in advertising and display matters as well as in magazine and Web design. Released by ParaType in 2010.

Walpurga is a witchy display font that comes in two variants - regular & bold - and with four glyphs for each letter. There is a set of ornaments and the in-built open type features produce a random, natural looking effect when activated through the "contextual alternates" feature. Walpurga was created with stylized brush ends that become visible at larger font sizes. A fresh, versatile font that is usable for a wide range of design applications. Please activate Open Type Features to get the most out of this font.

Rasane font has a distinct personality where the curved geometric shapes give a friendly face to various uses. At the same time, the pointed end of the stem gives a dynamic feel. This font comes with over 400 characters, making it possible to use fonts in many different languages. The family consists of 14 fonts of 7 weights plus matching italics. Rasane font works well on display and small sizes. Rasane is the perfect choice for headlines, packaging, posters, logotypes, signs, websites, brands and more!

ITC Gema is the work of Brazilian graphic designer Claudio Rocha. It was first written in a small size to keep the surface irregularity of a non-coated paper when enlarged for use as a display font," says Rocha. Many strokes do not quite join, giving Gema the visual effect of a stencil typeface, the distinguishing characteristic of the font. "Some characters have my own handwriting gestures," says Rocha, like elongated endings and angular shapes. Gema comes complete with an unusual variety of ligatures and alternate characters."

The sinuous, organic forms of Bing first came into being on a poster for a Smithsonian Institution exhibit on Siegfried Bing, a German art dealer in Paris who figured prominently in the development of Art Nouveau towards the end of the nineteenth century. Inspired by the natural forms of Antonio Gaudi, and the Paris Metro stations of Hector Guimard, Bing can be used effectively in the modernist style of Art Nouveau and is equally at home in the 1960s psychedelic rejuvenation of that genre.

Hologram is a font inspired by a combination of the future and the past. The intention was to design a font that was most effective when applied to Largely Displayed text like Headings, rather than for smaller extended bodies of text. There are 3 distinctive styles offered in the Hologram font family. Each style contains over 350+ Glyphs per style with support for up to 26 Languages as well as specialised kerning & spacing. Display Sans: This style is the cleanest of the 3 fonts. There are no serifs attached to the ends of the strokes, although the stroke weight is varied from thick to thin depending on the letters. Display Serif: This style contains modern serifs at the ends of most character strokes that give more structure to the shapes. A majority of the serifs are horizontal in direction with few characters containing vertical serif details. Display Wedge: The most Bold of all is the Wedge Serif style offered. Featuring thick and thin triangular serifs at the ends of character strokes. This style is most effective in Large Displays & Titling uses. Designed by KAZER STUDIO

Our Maiden Orange Pro is a light and festive slab serif font inspired by custom hand lettered 1950's advertisements. Clean and legible, while also being offbeat and friendly, this font lends itself to a wide variety of uses. The SmallCaps and extensive figure sets offer a slightly more serious tone as well as a wider range of design use. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Hudzaifah is a crème de la crème modern calligraphy font with sophisticated messy ink accents. It is perfect for branding and packaging design. Hudzaifah includes full set of lovely uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. All lowercase letters include beautiful and unique . Also, includes multi-lingual support. There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen :)

Eulogy Is A Serif Family Font and Variable Display Inspired By Retro and Vintage Style. . SOFTWARE REQUIREMENTS : Fonts and alternate : No special software required they may be used in any basic program /website apps that allows standard fonts That's it folks! You can go ahead and get cracking :) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

LiebeCook is a carefully crafted collection of fruit and vegetables, forks and knives, pots and home appliances, in countless variations and sizes for creative flexibility. Create a neatly illustrated cookbook of your favorite recipes, send dinner invitations to your friends, or decorate your restaurant’s menu—with LiebeCook you will surely give your designs a personal touch. More than 170 drawings are included in this single font and can be used in any text or graphics application. Combine LiebeCook with LiebeMenu and LiebeMenuLettering to give your food-related projects a handmade but professional look.

Sharky is a tough bold serif font, inspired from the mighty shark which lives underneath water. This font is created with unique sharp edges all around the side and provided some extra ligatures and alternatives glyphs that makes this font worth in to your design project. This font also perfect for any branding. Sharky Features: Sharky Uppercase and Lowercase font Numerals and Punctuations Multilingual Support Ligatures and Alternates Thankyou for picking this font. if you have question, send me a message and I am gladly to answer. regard, Grontype

Tucked inside the November 5, 1927 issue of a German signpainters' trade paper was a single sheet headed Der Schilder und Schriftenmaler, which featured an alphabet called "Neue Fraktur". An exuberant (if somewhat unconventional) combination of Art Deco sensibilities and blackletter forms, the font retains its freshness, even today. Included in this version are Deco bishops fingers at the bar and broken bar positions, and a styling, horn-blowing herald at ASCII circumflex and tilde positions. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

The evocative and original Retrofit is based on typefaces of the 1940s and 50s, which extolled the virtues of American products in glossy magazines for the new suburban consumer. Oversized terminal bulbs and occasional slab serifs lend a rhythm and a bouncing baseline provides just the "zing" to spice up that bland typographic treatise. Retrofit's easy familiarity can be seen on children's books, games, food packaging, and other places where a kid friendly note is needed. Retrofit has been adapted by Quickutz for their punched letter cutting tool, and re-named "Maggie".

Introducing “Careny” – an elegant and modern typeface. This typeface has a refined look due to its sleek shape and perfect curves. Its modern aesthetic lends a touch of sophistication to any project, from magazine layout to logo branding. Careny is the ideal choice for anyone looking for a versatile and fashionable typeface that effortlessly blends traditional elegance with modern design. Careny is perfect for branding projects, logos, social media posts, advertisements, product packaging, wedding invitations, product design, labels, photography, watermarks, stationery, and more. Features : Uppercase and lowercase Punctuation and symbols Multilingual support Ligatures Alternates

Introducing Special creative products for you, our products will give you an extraordinary experience that will not be forgotten. Balister A popular and professional Handwritten font. Modern and elegant, this typeface is made of beautiful creative strokes. Balister This font is perfect for your creative ideas, both formal and informal. It has a modern style with a touch of creative ideas that is very suitable to be applied anywhere that requires creative ideas such as invitation cards, letterheads, website logos, social media, banners, advertisements, brochures, packaging products, leather products, and any product that requires writing. By using this font, all of your products will look luxurious, elegant, and attractive, please try and see the results. This font includes a complete set of beautiful upper and lowercase letters, numbers, a wide variety of punctuation marks, and ligatures. All lowercase letters include a start and end, providing a realistic style. everything you get. Encoded PUA Character – Can be accessed completely without additional design software., Please note that Stylistic Alternates will require professional design software such as Adobe Illustrator, Photoshop, InDesign or Inkscape. Thank you...