Halisah is monoline script font which natural movement and elegant for valentine style. Halisah perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste. ________________________________________ What’s Included : • (OTF / TTF/WOFF) • Standard Glyphs • Ligature • 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; ä ö ü Ä Ö Ü ß ¿ ¡ ________________________________________ Thank you for your purchase! Hope you enjoy with our font!

Progressiva is a sans serif type family for text and display usage. With some unique playful forms and a little bit condensed structure, the family is ideal for texts that require some personality and titles with great visual presence. Progressiva family is composed by 11 roman styles, from Thin to UltraBlack, giving a lot of space for visual variance. Each font includes some standard and discretionary ligatures as well as some alternative letterforms included in stylistic alternates and stylistic sets OpenType features. It’s suitable for magazines, posters, packaging, advertising, signage systems, corporate material and so on.

Magarella Script - a new fresh & modern script with a calligraphy style, and dancing baseline! So beautiful for usage in invitations, greeting cards, branding materials, business cards, quotes, posters, and more! Magarella Script come with many alternates and ligatures. The alternative characters were divided into several Open Type features such as stylistic sets, stylistic alternates and ligatures. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. This font has the PUA unicode (specially coded fonts), so that all the alternate characters can easily be accessed in full by a craftsman or designer! PUA Encode There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). For use in office word, you all can read the following article. http://www.magpiepaperworks.com/blog/using-opentype-fonts-in-microsoft-word/If You have any question, don't hesitate to contact me by email ijemrealmad54@gmail.com

Introducing Kindly, a friendly, hand-drawn, all-caps font with tons of symbols, wingdings, and word art. I’ve been developing this style of lettering for years in my custom design and lettering work, and now I’ve taken the time to turn it into something anyone can use to design with authentic, hand-drawn typography. Kindly is perfect for invitations, design for children, branding, and editorial design and comes with more than 100 extra elements to bring some fun to your layouts. Kindly comes with 504 glyphs and a smattering of OpenType features, including stylistic sets, character variants, and multilingual support (including multiple currency symbols). The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you need help with this, ask me!) The wingdings, word art, and other fun elements are all PUA-encoded so you can easily use them in OpenType-savvy software or with a character map.

The Terminus typeface is an exploration of what occurs to letterforms when flip-disc display and variable-message signs begin to malfunction. Whether caused by analog or computer error, there is a mechanical beauty and randomness in the deterioration of the forms. Dresser's wild take on this concept purposely pushes the limits of legibility along with incorporating historical bits and pieces from blackletter and uncial script forms into this modern digital grid. OpenType font features provide the user with four options to use the typeface. Simply load the default Terminus for a surprisingly legible breakdown of digital characters. Select “Contextual Alternates” for a random selection of altered forms from the 994 glyphs included in the font. With the Glyph Palette open, manually select from the five full character sets to create your own unique settings. Lastly, choose “Stylistic Alternates” for an extreme test of legibility. This setting combines characters from the default font with the most elaborate set of alternates and best exemplifies the organic disintegration of Terminus.

The typeface DIVERSiTY Font is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz as a political statement #diversity #♥︎ 1 font-styles (Mix) with 245 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (3 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: DIVERSiTY Font ■ Font Styles: 1 (Mix) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 245 glyphs incl. extras like icons (decorative extras like dingbats, emojis, symbols) ■ Design Date: 2022 ■ Type Desi­gner: Manuel Viergutz

After Generis™, Aeonis™ is the second large family of typefaces by Erik Faulhaber. The basic Aeonis sans-serif form references Ancient Greek lapidary inscriptions from the 9th century BC. Between the poles of antiquity and modernity, a deliberate contradiction of round and rectangular forms gave way to a new and energised font: Aeonis. Aeonis is available in three widths and seven weights, all of which have been carefully coordinated in terms of their proportions. The clear contrast in the bold stroke intensity emphasises the organic nature of the font and creates exciting aesthetics. In light of their open forms, the letters guarantee a good level of readability, even in small point sizes. Given that the dynamic individual forms of Aeonis also fit perfectly in a functional image, this typeface is ideal both for complex, text-heavy documents as well as for logos and display text settings. Particular attention was paid to ensuring carefully coordination proportions: all styles and weights have the same cap height, as well as identical ascender heights, x-heights, and descender lengths. The widths of all figures, currency symbols, mathematical operators, and special characters have been carefully aligned for tablular settings. Aeonis is an extremely systematic design. All of its widths and weights may be combined with one another, without restrictions. For users who do not like the open A, an alternate A with a crossbar is included in each font as well.

The type­face “Mallorca Dirty Numbers Vol 1” is desi­gned for the Typo Gra­phic Design font foundry in 2017 by Manuel Vier­gutz. The playful dis­play font is designed on holiday photos of different numbers (house numbers, graffitis, handwritten menu cards …) from Mallorca. An alphabet built with numbers. 524 gly­phs with A–Z, a–z, 0–9 and 99+ deco­ra­tive extras like ornaments, arrows, ding­bats, emojis, sym­bols, geo­ma­tric shapes, catch­words, deco­ra­tive liga­tures (type the word “LOVE” for ❤ or “SMILE” for ☺as OpenType-Feature dlig ) and of course many many numbers (20+ stylistic sets). For use in logos, maga­zi­nes, pos­ters, adver­ti­se­ment plus as web­font for deco­ra­tive head­lines. The font works best for dis­play size. Have fun with this font & use the DEMO-FONT (with redu­ced glyph-set) FOR FREE!

The type­face “Netherlands Dirty Numbers Vol 1” is desi­gned for the Typo Gra­phic Design font foundry in 2017 by Manuel Vier­gutz. The playful dis­play font is designed on holiday photos of different numbers (house numbers, graffitis, handwritten menu cards …) from the Netherlands. An alphabet built with numbers. 342 gly­phs with A–Z, a–z, 0–9 and 40+ deco­ra­tive extras like arrows, ding­bats, emojis, sym­bols, geo­ma­tric shapes, catch­words, deco­ra­tive liga­tures (type the word “LOVE” for ❤ or “SMILE” for ☺as OpenType-Feature dlig ) and of course many many numbers (20+ stylistic sets). For use in logos, maga­zi­nes, pos­ters, adver­ti­se­ment plus as web­font for deco­ra­tive head­lines. The font works best for dis­play size. Have fun with this font & use the DEMO-FONT (with redu­ced glyph-set) FOR FREE!

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

Ramozact Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with hand-lettering style. Designed to bring style elegance. Ramozact Script attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Ramozact Script has 397 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac). How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thanks for your purchase!

Warrior Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with hand-lettered style. Designed to bring style elegance. Warrior Script attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Warrior Script has 419 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit

Berimbau is a whimsical narrow hand-drawn typeface. It’s stylish, versatile and loaded with amazing OpenType features that do their magic in OpenType savvy applications. Its sprightly swashes and twisting stylistic alternates (say that 3 times fast!) play together to deliver a really cool contextual feature that, in a push-button way, substitutes the first letter in a word with its left swash version and the last letter with its right swash version (please type a space before and after the words).The feature also applies stylistic variants to some of the intermediate letters. Which button to push? The Contextual Alternates one! If you're not a one-click-way-person you can pick your preferred glyphs through the glyphs palette. There you’ll find at least 4 variations for each letter: left swash, right swash and 2 regular forms that correspond to the upper and lower case keys. Some letters also have a 5th variation that acts as stylistic alternate. This font is conveniently packed with the ‘access all alternates’ functionality, so when you click on a glyph at the glyphs palette you’ll see all variations available for it, making it easier to choose the one that will fit better. A bold weight was made to provide that extra-strength when a bit of… boldness is needed. Please note that it doesn’t have the advanced OpenType features (but is still very charming!). Yet, both weights have a handy set of ornaments for added yumminess.

Sunlight Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with handleting style. Designed to bring style elegance. Sunlight Script attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Sunlight Script has 422 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

Graphitel is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with hand-lettered style. Designed to bring style elegance. Graphitel is such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Graphitel Script has 594 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

Mynaruse Royale is an expansion of Mynaruse Titling. It features script capitals and widely tracked and smaller titling capitals. Mynaruse Royale has plenty of character and, with its powerful and sharp serifs it draws in the eye. Mynaruse Royale is useful in settings that call for titling with an extra touch of elegance, such as a storefront, wedding program or formal invitation. Mynaruse Royale contains a number of OpenType alternates, including alternate forms for the capitals that are large, drop cap like capitals instead of the calligraphic script capitals found in the default forms. Additionally, there are non-widely tracked lowercase forms that work well with the included alternate characters and ligatures. The lowercase forms are 80% smaller in height than the Mynaruse lowercase forms, so the families are not interchangeable, but they can be used together. The calligraphic script capitals could also be used separately as drop capitals. OpenType-capable applications such as the Adobe suite or Quark can take full advantage of automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of latin based languages.

Newcomen is a highly versatile titling face that includes 87 OpenType alternates and 38 ligatures. Newcomen titling, in its default form, evokes the Victorian era and is named for the British inventor of a steam engine for pumping water. Newcomen's flexibility is remarkable; the family includes four weights, and OpenType style sets are included that can alter the appearance of the face to either appear more dark and gothic, classical, include dots in the counters, and swash and "boxy" sets. Individual characters can also be selected and mixed and matched in OpenType capable applications for distinctive custom designs. A few design ideas are to use the gothic alternates for Halloween, the dots for a steampunk appearance, or the traditional alternates for a unique classical look.

The British Telegraph font family was inspired by classic headers of Britain newspapers from the middle of XX century. Classic look with three width – Light, Regular and Bold. Great for headers, signs or logos. Also, working well for text blocks. - The British Telegraph Light: Use it for text blocks, or for gently light header typographic. Try to make more wide tracking with capitals, it looks good. - The British Telegraph Regular: Great for simple message, quotes, subheaders (If the header is Bold) or advert slogans. - The British Telegraph Bold: Is a killing title buddy. Massive, strong, bold and in the same time – very gentle. Perfectly for main words, headers, signs or logo's. The British Telegraph has full glyph set with standard and discretionary ligatures (Open Type Features).

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know. The PDF specimen was designed with the wonderful photography of Gonzalo Aguilar from Mexico. Please download it here http://new.myfonts.com/artwork?id=47049&subdir=original

The Kopius™ family is a contemporary serif type that features friendly characteristics with round, open counters conveying a relaxed ambiance. The robustness of the characters supports a wide variety of applications including editorial and display use. The uniquely defined novel glyph construction and serif shapes convey an allusion to a brush stroke that bestows a contemporary, texture-rich appearance entirely in tune with functionality. The top and bottom slightly curved stems imply flow and reading direction. Kopius is an exuberant family with a genuinely multifaceted repertoire. This upbeat type comes with a multitude of weights to satisfy any fanciful appetite for a colorful typographic palette. With packaging solutions in mind the family includes sets of expandable and combinable box heading material for a boundless range of adjusted composites. In addition, pertinent labels, weight-adjusted arrows, and word logos complete the Kopius family. OpenType provides advanced layout features including figure sets, small caps, fractions, and more. Herbert Thannhaeuser’s Liberta, an Antiqua type family designed for the East German type foundry VEB Typoart between the middle to end 1950s, has stirred the initial inspiring force for Kopius. Baskerville-like open and modern typeface proportions further characterize Kopius’ letter dimensions. With its affable yet serious demeanor, Kopius is confidently assuming numerous tasks.

The font family Univers is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas’sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989.

Forged to be as imposing as a Norse horde ready to stampede into battle, Works great in all caps which it was initially designed to. I designed the lowercase characters to match really well with each other and the uppercase, so it works well in title case. Designed by Jon Swinn.

Vintage New York neon signage alongside the landmark Dubrow's Cafeteria [probably circa the 1940s] of the words "retail shop" inspired the namesake digital type design. Retail Shop JNL is a bold and somewhat eccentric Art Deco font with varying widths and unusual character forms available in both regular and oblique versions.

The reason you should buy this font is simple and clear. This is because we have accumulated experience in realistic typography. This typeface exists as a unity with diversity. The intuitive form of letters and the subtlety of letter spacing create artistic value in the combination of words and sentences.

ITC Out of the Fridge is the work of German designer Jochen Schuss. Its forms look as though they were scratched on rough paper with a pen. ITC Out of the Fridge is, in the designer's own words, fresh and cool", and works well where something modern yet "proper" is desired."

P22 Barabajagal is a unique take on the display fat face by way of doodling fun. Somewhat informed by the shapes of an early 1970s film type called Kap Antiqua Bold, this font’s aesthetic is the stuff of boundless energy and light humour, where an uncommon “peak” angle drawing perspective results in sturdy trunks, fat bottom curls, and active ascenders eager for mobility in space. This is the kind of font that makes you wonder whether it was drawn with rulers, protractors and compasses, or just by a mad doodler’s crazy-good free hand. Regardless, Barabajagal easily turns the geometry of modern forms into an exercise in sugar-loaded fun. It’s a very good tool to use in design geared at kids and young adults, such as food and toy packaging, books, animation, cartoons and games. Barabajagal comes with over 550 glyphs, lots of alternates, and a few ligatures and swash caps. It also contains extended support for Latin languages.

Coumins has soft, elegant brushstrokes, with typography that looks like handwriting. The brushstrokes appear to be produced by fluid, skillful hand movements, giving the font an artistic and handcrafted feel. Medium to large typography sizes will display brush stroke details clearly. This lettering font is perfect for designs that require a personal and organic touch. Coumins is supported with additional characters that have Alternate forms and swashes that will help you achieve beautiful styles with your own creations. FEATURES; -Uppercase, Lowercase, Foreign Support, Numbers and Punctuation -Alternative, Swash -Works on PC -Simple installation -Accessible in Adobe Illustrator, Adobe Photoshop. Adobe InDesign, even works in Microsoft Word - Fully accessible without additional design software. Coumins is encoded with Unicode PUA, which allows full access to all additional characters without having to design special software. Mac users can use the Font book, and Windows users can use the Character map to view and copy any extra characters to paste into your favorite text editor/app. Thank you for visiting:)

Two attractive cast metal door signs reading "Men" and "Ladies" from back in the Art Deco era inspired the idea for Nameplate JNL. The left parenthesis key starts the border decoration, and the right parenthesis key closes it off. Nameplate JNL has just a basic A-Z and numeral set; the letters "floating" within the parallel lines of the border to form complete nameplates, apartment numbers or any similarly encased words. A period, comma, apostrophe and dash are on their respective keys. A small blank space is on the left bracket key, a medium space is on the right bracket key and a large space is on the left brace key. There is a small, complete frame on the right brace key. For names such as "MacDonald" or "McIntyre", the small "ac" is on the colon key and the small "c" is on the semicolon key. No kerning has been applied in order to give the type more of an antique, "mechanically assembled" look.

Truecolor is a bold and distinctive brush font that commands attention. The characters in this font are characterized by their robust, square forms, which give the font a sense of solidity and reliability. Each letter is meticulously designed to maintain a cohesive and balanced appearance, adding an air of authority and visual impact to your text. It has the power to transform your text into a striking focal point, ensuring that every word is seen and remembered. In addition, you can also enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Truecolor fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Autografia is a high-quality signature typeface. The typeface family is provided in five weights: Thin, Light, Medium, Bold and Black. The weights compliment each other and makes for a truly formative script typeface, to be used in any context and with the right assertion. Autografia's large, round capital letters contrast against its short and streamlined lower case, resulting in a characteristic autograph style. Use underscore _ anywhere in a word to make an underline. Example: Sign_ature Use multiple underscores for different underlines. Example: Hand_____writing (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Introducing “Megamind” – sanserif / display font with a new look, which is stylish and flexible. Its bold, solid, clear, and strong characteristics make this font look beautiful with the right portions in your various design projects This font is made with passionate pleasure and passionate passion applied to this font design, so this font is suitable for offline or online games, PC or smartphone games, adventure posters, children’s movie titles, food titles and logos, magazines, youtube covers, youtube cover images, social media page covers, banner headlines, children’s book titles, film titles, and more. What’s Included : File font Web Fonts Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in 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, Albanian, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish

Amarone is a spiky calligraphic display typeface with some old fashioned flavour. It was designed by Carl Crossgrove, and includes an extensive set of swash caps which allow for extra drama where needed. Crossgrove wrote each of Amarone's letters by hand using pen and rough paper, and has retained some of this visual texture in the final digital design. The typeface works well at small sizes, but when used at larger sizes this texture comes to the fore. Amarone's elegant, formal character can be modified with its swash caps, which allow the typeface to move from prim and ordered to wildly expressive. Amarone lends itself well to packaging, posters and editorial usage – or in any environment where designers need to evoke times gone by. The Amarone font features an extensive character set with support for over 130 languages, and a range of OpenType typographic features including ligatures, initial and terminal forms, figures, fractions and swashes.

Lovage is Modern Elegant Serif Typeface The serifs that we made specifically for the needs of elegant branding, with additional ligatures and alternates in a more feminine and unique form will be ready to add value to your brand. It's great to take advantage of designers or product owners who need a solution to make their designs look more classy and modern. This font is specially designed for fashion-themed projects, perfectly suitable for creating elegant, chic, lifestyle designs such as logos, titles, magazines, and more.

Based on the late 1970s artwork by outstanding Armenian type designer Henrik Mnatsakanyan (1923-2001). That was the only design created by Mnatsakanyan for Latin and Cyrillic. Digital version with adding the missing characters was designed for ParaType in 2003 by Manvel Shmavonyan. The font name Henman proposed by Mnatsakanyan is formed of the first three letters from the each designer's name: HENrik and MANvel. Some fractured elements make the face informal and a little bit funny. For use in text, advertising and display matter.

A Bitstream version of News Gothic that was created by Morris Fuller Benton for American Typefounders and first appeared in 1908. There is the standard American sanserif of the first two thirds of the twentieth century with narrow proportions and a large x-height. Despite, or perhaps because of, the font’s unconventional relationships in proportion and form, News Gothic has long been a popular typeface for almost any use. Cyrillic version developed for ParaType in 2005 by Dmitry Kirsanov. Greek extension designed by Dmitry Kirsanov in 2009.

Afiga is a is humanist sans-serif a modern type family inspired form British typography of the early 20th century, Simple and fresh typeface for visual identities, book covers, magazines, and advertisement. Afiga typeface consists of 7 style plus “true italic” set. All of the styles together have over 700 characters, supports more than 50 languages – in Latin based languages Afiga supports OpenType features for fine typography, including Alternate characters, old style figures, Tabular Numbers, proportional figures, ligatures, superscript and subscript figures and support for fractions.

Melody Sunday is a Chic and Lovely Calligraphy font, described by an Love touch, perfect for your favorite projects. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! "Melody Sunday" includes a full set of lovely uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. Also it includes: Alternates letter for lowercase beginning and ending swashes, lowercase ending heart swashes, which serve to connect two words or letters (This is so perfect for invitations, monograms) Thank You, Subectype

Chanilly is monoline script font which natural movement and elegant for signature style. is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste. What’s Included : Standard glyphs Ligature 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; ä ö ü Ä Ö Ü ß ¿ ¡