Geometric Patterns JNL offers a large and varied assortment of interesting design variations in a 'tiled' (square) format that can be adapted to spot embellishments, running borders or repetitive patterns.

Inspired by a series of handwritten menus produced in 1980, La Carte is a stylish but legible script that sets as well in body copy as it does in headlines.

Torch is a spirited, sophisticated sans. With an open flow that embraces and accentuates the beauty of its surroundings, Torch carries a confidence and triumphal whimsy ideal for any celebration.

Bevelle is a serif font with characters that have beveled corners. It is ideal for headlines, titles, branding, small blocks of text or wherever a clean, fresh look is desired.

Amelyan is a sweet and friendly calligraphy font. Fresh and neat, this font is ideal for writing wedding invitations, cards, or any other design that might need a fun touch!

Valentine Kids is a sweet, tall and thin lettered sans serif font. It works great for children or school projects, or pretty much anything that requires a chic, delicate touch.

If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person's writing, and designed to look as natural and as close to the original lettering as possible. Like any person's writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. It is friendly and open with easy to read glyphs both as lowercase and uppercase. The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old. When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more. Maree has been individually crafted to the smallest detail. To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long. There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different. Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number... All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable. That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent. There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is. When this font is printed out you will find it is surprisingly neat. This font is what it is, simple clear handwriting. You will not go wow. But if you want something unique and different and looks good on the page you won’t be disappointed. This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?

From A to B, or not to Z: that is the question mark: whether 'tis nobler in the mind to kern with the left and right arrows of outrageous keyboards, or to take arms against a sea of ' thought bubbles,' and by opposing, burst them? To sigh, with those little fireflies: to sleep; No more; and by sleep that is to say we end each line of dialogue with 'zzzzz;' The heart-shapes and the thousand drops of sweat popping off my forehead that sight of flesh is sure to produce, 'tis a consummation devoutly to be letter'd. To die with still at least five balloons of dialogue, to sleep; perchance to flashback to a scene in a previous issue while a picture of my head floats in the corner of each panel: ay, there's the rub; 'Nuff Said.

Jemrok is a stunning display font that embodies a classic modernist style. With its beefy and elegant design, this font is perfect for creating stylish and sophisticated designs. The letters are happily made with cute and adorable shapes giving it a different, unique, and professional look. Jemrok has a unique combination of classic and modern elements that makes it stand out from other display fonts. The characters are designed to be bold and impactful, making them perfect for headlines, titles, and branding. This font also comes with different characters and alternatives, allowing for even more creative possibilities. Whether you design logos create posters or design websites, Jemrok is the perfect choice for any project that requires a classic modernist style. With its timeless design and versatility, this font is sure to make your designs stand out and leave a lasting impression.

SL Che is a homage to Ernesto Guevara de la Serna, “El Che”, who lived between 1928 and 1967. El Che turned into an universal icon through a memorable photograph which was reproduced and multiplied to the infinite. It was that way he became a synonymous of resistance, revolution and change for lots of generations. That "Che" comes back today by the hand of the genial Jorge Alderete, who designed heroic, laughing and cool variations of that popular first icon. SL Che unfolds like a fan of thousands of "Che", in a development plenty of metaphors. SL Che abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Che takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

A font from the tube: an individual handwriting with a slightly wet character. In this case, the “pen” was a tube of black paint. It’s easy to see that you can’t really write “beautifully” with it. Nevertheless, the “Tube Script” is a beautiful, personal handwriting whose clumsy origins are not at all obvious in small font sizes. But if it’s big enough, then all the peculiarities of the paint container misused as a writing implement become apparent. Sometimes the line is very thin and delicate, sometimes it’s just a thick blob meant to represent a letter, depending on how hard the tube was squeezed. A few spills are inevitable. These coincidences of painterly writing are what make this font so appealing. This creates organic forms, random effects, breaks, streaks, where the writer normally determines the form. As such, this font is a great match for anything organic, picturesque, handmade, personal, or even random, unpredictable, or just plain natural. Hundreds of ligatures make the letters appear in a different form each time depending on it’s combination. And more than a hundred alternate characters can be selected using the corresponding OpenType features, thus enabling even more variety in the typeface. This creates the typically restless, extremely varied impression of a really individual script – almost as if it were really handwritten.

If you have a new idea to create a logo and brand and other craft needs, this font looks attractive, cute, and elegant. This font also includes a touch of the hand that is so unique!

TUTORIALS : https://www.youtube.com/@madhalinestudio/videos Yenisack is a carefully crafted font, which features a very heavy black metal feel. Yenisack suitable for metal band logos, merchandise, clothing, apparel, or anything that needs a black metal feel.

A unique tear drop script with a "nature theme" that will provide a freedom of expression in an elegant approach to all your projects. Ideal for landscape exhibitions, wedding invitations , flyers, gallery exhibitions and much more.

DB Doodledeedoo is great for adorning a scrapbook page or adding a nice to touch to a card or invitation. Adds child like art to to give all your creations that fun home and family touch.

this is a very special curving font, designed in such a way to add an old feel but still maintain a modern feel, there are several options that you can use and get creative with it

A rough hand-drawn plain sans serif that would be good for non-formal use. Do not expect a polished set of fonts from a professional, this family is hand drawn, hand spaced and hand kerned.

Wavely JNL is a font that could have been made by a child or a nervous writer. Squiggly, handmade lines form the characters and this font can also be used for spooky or horror-oriented themes.

Blukade is a handwritten script with a style elegant, sweet and simple. Very suitable to meet your various design needs that are trending now, and also includes a set of Extras to add even more beauty.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. Imagination and variety of shapes, which so far have been reserved only to the fine arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery - they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the first time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the flaps and in the imprint lines. Bold upper-case letters in the first line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque title-page could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book - a typographical manual. Among these manuals the one published by Fournier stands out - also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words - Baroque typography deserves anything else but the attribute "transitional". In the first half of the 18th century, besides persons whose names are prominent and well-known up to the present, as was Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our firm principle. Does it mean, therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is child's play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a fixed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in today's modern type designer's nihilism.

Florry is a modern, trendy, display typeface with a lot of ligatures that helps to make each word unique. It has a multilingual support. All available characters you can see on the 5th screenshot. Thank you & have a nice day!

Introducing a script font named "Propeller". This font has a trendy look inspired by vintage aircraft ads. It has connected letters with smooth shape and round endings. Intersecting lines are made with a small overlay that gives a tiny volume effect.

Dschoyphul is a serifed typeface that was crudely drawn with a pen. It is sloppy and irregular. It was one of several efforts to draw a serifed typeface by pen; see also SarahfSlob, which contains a complete family of styles.

Hello! Introducing a vintage style font — Retroid. It's a pixelated old-school typeface that imitates 8-bit console graphics. Retroid font has multilingual support (check out a screenshot with available letters and signs). Thank you and wish you a peaceful sky!

A tessellation is a pattern in which a shape or tile fits together with copies of itself to fill the plane with no gaps or overlaps. One type of tessellation is formed with sides of center-point rotation, that is, one half of an edge is rotated 180 degrees to form the other half. If a square template is made with sides of identical center-point rotation, there are exactly four shapes that are possible. If these shapes or tiles are fit together not edge to edge but vertex to vertex, the result is a checkerboard-like pattern of tiles and voids. However, the voids have four edges formed by the four possible shapes that the tiles can have, so the voids are limited to the same four shapes that that make up the tiles. The FabFours have 22 tile families that allow a wide variety of fascinating patterns. They form one, two, three, and four tile tessellation. Eleven of the seventeen symmetry groups can be formed with these patterns. In each tile family two of the shapes have two possible orientations, one shape has four possible orientations, and one has eight, for a total of 16 tiles. Each font has two families, one on letters A-P the other on a-p. For some of the families there are also other tiles using the same edge but using triangular and hexagonal templates. To get proper results, the leading must be set equal to the point size of the font. I discovered these fabulous families and their decorative possibilities as I was working on a book about tessellations. I have not been able to find anyone else who has written about these families of four and their decorative possibilities when arranged vertex to vertex.

Presenting 🕌Yulltan Ramadan Typeface🕌 by alitdesign. Yulltan Ramadan Typeface is a beautifully crafted font product with a unique style that is perfect for religious and Islamic designs. This font is specifically designed to cater to the design needs of the Ramadan promotion, and it has a distinctively Islamic and religious vibe that is sure to impress your audience. One of the standout features of Yulltan Ramadan Typeface is its support for PUA Unicode, which ensures that users can easily access all of the font's characters without any issues. The font also supports multilingual characters, making it perfect for use in various languages. With 869 glyphs characters, Yulltan Ramadan Typeface offers a wide range of characters, allowing users to create stunning designs with various styles and options. The font's characters are well-crafted and easily readable, making it an ideal choice for any design that requires an Arabic font. As a bonus, Yulltan Ramadan Typeface comes with Yulltan Dingbats font, which includes a collection of beautifully crafted Islamic symbols and ornaments. These extra glyphs can be used to add a unique and personal touch to your designs, making them stand out even more. In summary, Yulltan Ramadan Typeface is a versatile and elegant font product that is perfect for Ramadan promotions and other religious and Islamic design projects. With PUA Unicode support, multilingual characters, 869 glyphs characters, and a bonus Yulltan Dingbats font, this product is sure to meet all of your design needs. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Presenting 🕌Bahlull Arabic Typeface🕌 by alitdesign. Bahlull Arabic Typeface is a beautifully crafted font product with a unique style that is perfect for religious and Islamic designs. This font is specifically designed to cater to the design needs of the Ramadan promotion, and it has a distinctively Islamic and religious vibe that is sure to impress your audience. One of the standout features of Bahlull Arabic Typeface is its support for PUA Unicode, which ensures that users can easily access all of the font's characters without any issues. The font also supports multilingual characters, making it perfect for use in various languages. With 861 glyphs characters, Bahlull Arabic Typeface offers a wide range of characters, allowing users to create stunning designs with various styles and options. The font's characters are well-crafted and easily readable, making it an ideal choice for any design that requires an Arabic font. As a bonus, Bahlull Arabic Typeface comes with Bahlull Dingbats font, which includes a collection of beautifully crafted Islamic symbols and ornaments. These extra glyphs can be used to add a unique and personal touch to your designs, making them stand out even more. In summary, Bahlull Arabic Typeface is a versatile and elegant font product that is perfect for Ramadan promotions and other religious and Islamic design projects. With PUA Unicode support, multilingual characters, 861 glyphs characters, and a bonus Bahlull Dingbats font, this product is sure to meet all of your design needs. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Introducing Oprah Suede by Forberas Club Oprah Suede is a Handwritten Script font that will make your designs look classic, Farmhouse, Boho, and Feminine. It is a great font for events, Wedding projects, fashion, apparel projects, signatures, album covers, logos, branding, magazines, social media posts, and advertisements, but it also works great for other projects. Add it to your fonts’ library, and it will enhance your creativity! Oprah Suede is best for: - logos, branding, & Signatures. - Flyers, Album cover, Magazine, & Advertisements. - Website design, design blogs, & fashion. - Quote graphics for social media. - and also it works great for other projects. What's included : - Character Set - Numerals and Punctuation - Accents (Multilingual characters) If you have any questions, before or after purchase, please feel free to get in touch.

Back Peace is a Handwritten Script font that will make your designs look classic, Farmhouse, Boho, and Feminine. It is a great font for events, Wedding projects, fashion, apparel projects, signatures, album covers, logos, branding, magazines, social media posts, and advertisements, but it also works great for other projects. Add it to your fonts’ library, and it will enhance your creativity! Back peace is best for: - logos, branding, & Signatures. - Flyers, Album cover, Magazine, & Advertisements. - Website design, design blogs, & fashion. - Quote graphics for social media. - and also it works great for other projects. What's included : - Character Set - Numerals and Punctuation (OpenType Standard) - Accents (Multilingual characters) If you have any questions, before or after purchase, please feel free to get in touch.

Kurenai is a japanese brush font that we made with excellent taste. We combine ethnic and cultural elements in each of the glyphs. This Osake font is suitable for those of you who like japanese culture, besides this font is also suitable for those of you who have a japanese restaurant, japanese clothing brand, japanese arts, and business purpose related with japanese culture. What’s Included : Standard & Multilingual glyphs Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Danish, Dutch, French, German, Indonesian, Irish, Italian, Norwegian, Portuguese, Scottish, Spanish, Swedish, Swiss. Hope you enjoy with our font!

Introducing Bobagum by Forberas Club Bobagum is a Handwritten Script font that will make your designs look classic, Farmhouse, Boho, and Feminine. It is a great font for events, Wedding projects, fashion, apparel projects, signatures, album covers, logos, branding, magazines, social media posts, and advertisements, but it also works great for other projects. Add it to your fonts’ library, and it will enhance your creativity! Bobagum is best for: - logos, branding, & Signatures. - Flyers, Album cover, Magazine, & Advertisements. - Website design, design blogs, & fashion. - Quote graphics for social media. - and also it works great for other projects. What's included : - Character Set - Numerals and Punctuation (OpenType Standard) - Accents (Multilingual characters) If you have any questions, before or after purchase, please feel free to get in touch.

Lycia (Lycian: 𐊗𐊕𐊐𐊎𐊆𐊖 Trm̃mis; Greek: Λυκία, Lykia; Turkish: Likya) was a geopolitical region in Anatolia in what are now the provinces of Antalya and Muğla on the southern coast of Turkey, bordering the Mediterranean Sea, and Burdur Province inland. Known to history since the records of ancient Egypt and the Hittite Empire in the Late Bronze Age, it was populated by speakers of the Luwian language group. Written records began to be inscribed in stone in the Lycian language (a later form of Luwian) after Lycia's involuntary incorporation into the Achaemenid Empire in the Iron Age. At that time (546 BC) the Luwian speakers were decimated, and Lycia received an influx of Persian speakers. Ancient sources seem to indicate that an older name of the region was Alope (Ancient Greek: Ἀλόπη, Alópē). Lycia fought for the Persians in the Persian Wars, but on the defeat of the Achaemenid Empire by the Greeks, it became intermittently a free agent. After a brief membership in the Athenian Empire, it seceded and became independent (its treaty with Athens had omitted the usual non-secession clause), was under the Persians again, revolted again, was conquered by Mausolus of Caria, returned to the Persians, and finally fell under Macedonian hegemony upon the defeat of the Persians by Alexander the Great. Due to the influx of Greek speakers and the sparsity of the remaining Lycian speakers, Lycia was rapidly Hellenized under the Macedonians, and the Lycian language disappeared from inscriptions and coinage.

Lust Didone’s character set was expanded as well during the redraw and update, the Italics were separated and reimagined anew from the universal italics in the original offering. Lust Didone also includes the new Fine optical size with complementing Italics for each size as well. And, yes, more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Introduce a display font named Kinuhi. What can you do with a font like this? With a simple line of code and some creativity, you can make it the centerpiece of your next snowboarding gear or create a cool logo for your design agency. Or, maybe use it to quickly make a fun Halloween party invitation. The possibilities are endless. Of course with this font your various design projects will be perfect and amazing, get a beautiful title and start using our font for your special project.

Designed by Daniel Hernández and Paula Nazal. Corrections and review by Alfonso García and Rodrigo Fuenzalida. Trenda is a geometric sans-serif typeface based on the uppercase of Trend —a Latinotype font, released in 2013, that was very well received. This new typeface comes with a wider character set that offers a complete family of uppercase and lowercase in different weights. Trenda is a versatile easy-to-use functional display font with a strong personality, especially its uppercase, which makes the designer’s work easier. Trenda’s lightest and heaviest variants are ideal for display use while its middle weights work well with short and mid-length texts. This typeface has been designed especially for corporate projects, logotypes and publishing. Trenda comes in 8 weights, ranging from Thin to Heavy, and includes matching italics as well as small caps and alternates. The family contains a 634-character set that supports 206 different languages.

Lakone is a modern serif font that brings a touch of sophistication to your designs. With its narrow character and sleek aesthetics, Lakone is the perfect choice for titles and headlines that demand attention. But Lakone offers more than just good looks. With its extensive set of Opentype features, including dozens of ligatures, swashes, and alternatives, this font empowers you to unleash your creativity and elevate your typography game. These features provide you with endless possibilities to customize your designs and add that extra touch of elegance. Stand out from the crowd with Lakone. Whether you're designing a magazine cover, a logo, or a website, this font will captivate your audience and leave a lasting impression. Don't settle for ordinary typography when you can have the allure and versatility of Lakone. Get ready to elevate your design projects and make a bold statement with this modern serif font.

Gandarita, a vintage serif typeface, exudes timeless elegance and sophistication. With its carefully crafted letterforms, inspired by classic typography, Gandarita seamlessly blends tradition with a contemporary flair. The typeface boasts distinctive serifs that evoke a sense of refinement and nostalgia, making it an ideal choice for projects that require a touch of vintage charm. Its balanced proportions and intricate details lend a sense of authenticity, capturing the essence of bygone eras while maintaining a versatile appeal for a wide range of design applications. Whether used for editorial layouts, branding, or signage, Gandarita imparts a sense of enduring style, making it a standout choice for those seeking a classic serif typeface with a hint of character and sophistication.

Mundial translates as “Worldwide”, this name is a statement: the idea of synthesizing characteristics from different traditions in a single typographic style. Here and there you can see gestures that are clearly associated with different eras and cultures, but not to be confused: the main characteristic of Mundial is the summary, the cohesion and the sum that results in more than each individual part. Mundial is a typeface for this time in which individual identity marks, are the best aid to build a world together.