Introducing the new elegant Mulan! For those of you who need a touch of elegance combining classic style with modern calligraphy style for your design, this font is made for you! WHAT'S INCLUDED? Mulan was built with OpenType features and includes initial and ending stylistics, alternative characters for most lowercase letters, numbers, punctuation, alternatives, ligatures and also supports other languages.

Online auctions offer a myriad of unique, vintage and novel lettering devices – all which are fertile ground for typographic inspiration. In this instance, a set of stamped metal letters for outdoor signage was the basis for Stamped Metal JNL. Some of the non-traditional letter weights makes these simple block letters a wonderful change of pace for bold, attention-getting headlines.

A delightfully different typeface named Aphrodite, designed by Richard Nebiolo for Photolettering in the 1970s, provided the pattern for this svelte beauty. Graceful and elegant, it's the perfect choice for tasteful yet commanding headlines. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Chizcake. Do you love random shape thick font? This font is cuteness overload. It is for everyone, for various design purpose. This font is suitable for happy theme, cute, party, holiday, kids and many more. It is also suitable for Logo, Cards, Branding, Social Media, Youtube Thumbnail, Advertisement, Posters, any many others. Features: – Standard Characters (Uppercase and Lowercase) – Numerals – Punctuation – International Characters

This family is intended to be a universal font generator for languages of unknown civilizations or simply a tool for creating graffiti-like ornaments. Inspired by both my own paintings and drawings and graffiti. Set of 107 glyphs, available in 3 styles - thin, regular and black rounded. Picture font recommended for use as a decorative element and for creating new alphabets.

Giane Gothic sans is stylish sans serif font with Gothic touch, Giane Gothic is a younger brother of the original "Giane" family font. Giane Gothis is perfectly matching pair with Giane Serif Giane Gothic sans Perfectly suited for graphic design and any display use ( for the logos, t-shirts, the web as well as for print, and also great for headings), Thank You

If you are looking for a typeface that is both different and stylish, Rustea is a perfect choice. With its combination of modern and vintage curves, this typeface is perfect for creating eye-catching designs that will stand out from the crowd. Affordable and versatile Multilingual support and complete character set Get one font for any occasion Support for 31 languages File OTF

Introducing the elegant Adore Calligraphy Font! Adore Calligraphy was built with OpenType features and includes beginning and end swashes as well as alternate swash characters for all lowercase letters. Each character was thoughtfully crafted to create a timeless elegant look. For those of you who are needing a touch of elegance and modernity for your designs, this font is for you!

The typeface Modernistic, designed by Wadsworth A. Parker for American Type Founders in 1927, provided the design cues for this typeface which, unlike the original, includes lowercase letters. Best used sparingly for dramatic and memorable headlines. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Nordika is an understated, elegant, sans serif face with that clean legible corporate look. Its simple, trendy design makes it distinctive enough for display work. It makes a bold statement and is highly readable. Nordika is both condensed and quite bold and is therefore suitable for body text where some emphasis is required. Great for text and headlines - for just about any application.

This family is intended to be a universal font generator for languages of unknown civilizations or simply a tool for creating graffiti-like ornaments. Inspired by both my own paintings and drawings and graffiti. Set of 107 glyphs, available in 3 styles - thin, regular and black rounded. Picture font recommended for use as a decorative element and for creating new alphabets.

Gossamer is a delicate, wispy font, with extravagant caps and controlled, softly curved lower case characters. It is reminiscent of fantasy and fairy lore, and wonderfully evokes the magic of childhood. Use Gossamer for Christmas cards, for wedding stationery, for cosmetics and clothing, for romance and enchantment. Gossamer has standard OpenType features, and language support includes all European character sets.

Beliau is a modern serif typeface that has been expressly designed for high-resolution displays and print media. With its elegant appearance and finely balanced proportions, it is perfect for headline text, corporate branding, and other design applications where a touch of refinement is required. - Affordable and versatile - Well known for its exceptional readability - Get one font for any occasion

Funky Fat Jiggly PW is intended and suitable for Display use and Titles. It's not very suitable for long paragraphs of text. This font is meant for fun, fun, fun! It contains the basic characters. Uppercase, lowercase, numerals, and basic punctuation. See the character map for all of the included characters. Funky Fat Jiggly PW is available in OpenType, PostScript and TrueType format.

Samuel Welo’s “Studio Handbook for Artists and Advertisers” (published in both 1927 and 1960) showcased this talented man’s hand-lettered alphabets; used as inspiration for the sign trade and for graphic designers. A particularly interesting slab serif from the 1960 edition has many unusual character shapes, and served as the model for Casual Slab Serif JNL – available in both regular and oblique versions.

Helma is a display serif typeface that has been expressly designed for high-resolution displays such as digital and print media. With its elegant appearance and perfectly balanced proportions, it is perfect for the title text, corporate branding, and other design applications where a touch of refinement is needed. - Affordable and versatile - Renowned for its excellent legibility - Get one font for every occasion

Introducing the elegant new Somersette Monoline Script Font! If you are needing a touch of casual chic calligraphy for your designs, this font was created for you! Somersette was built with OpenType features and includes beginning and ending swashes, alternate characters for both lowercase and uppercase letters, loads of different swash alternates for lowercase letters, numbers, punctuation, alternates, and ligatures. Over 500 glyphs!

This contrast serif typeface is good for display use. Bandera Display Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines. It works well with Bandera Cyrillic (slab serif), Osnova Cyrillic (sans serif) and Bandera Text Cyrillic (serif) fonts. Bandera is Spanish for 'flag'. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

It has a lovely, refined appearance. This letter displays an unique and curving style. The gorgeous and elegant Elena Verlin Font is perfect for any project you are working on. This font is ideal for use on invitations for weddings, birthdays, anniversaries, and other special events. Because it can be applied on logos and products, it's also ideal for branding.

The Arabetic Sans Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Sans Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph’s isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Sans Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

The first cuts of Kabel appeared in 1927, released by the German foundry Gebr. Klingspor. Like many of the typefaces that Rudolf Koch designed for printing use, Kabel is a carefully constructed and drawn. The basic forms were influenced by the Ancient Roman stone-carved letters, which consisted of just a few pure and clear geometric forms, such as circles, squares, and triangles. Koch also infused Kabel with some elements of Art Deco, making it appear quite different from other geometric modernist typefaces from the 1920s, like Futura. Linotype has two versions of Kabel in its library. Kabel has a shorter x-height, with longer ascenders and descenders, making it a bit truer to Koch's original design than the second version, ITC Kabel, which was designed by Victor Caruso. This version, also known in the United States as Cable, has a larger x-height, shorter ascenders and descenders, more weights ,and a diamond shaped i-dot. Typefaces in the same oeuvre include Avenir Next, ITC Avant Garde Gothic, Metrolite, Metromedium, Metroblack, and Erbar, just to name just a few."

AmpleNuSoft is a display type family derived from the AmpleNutypeface by softening the edges. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which help to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of twelve styles which include six upright weights and their italics. AmpleNuSoft has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNuSoft is designed by Aakash Soneri during the period between 2020-2021.

Bandung Pro from Majestype was made to capture the natural movement of a brush script infused with the elegance of copperplate hand. With 6 months in the making, we want to make sure that the character set connects each other as natural and seamless as handwriting would be. We give you vast amounts of glyph options(700+) added with lots of swashes and flourishes to give you an authentic look of hand-made brush letters. Aceserif Pro is an all-caps serif font inspired by traditional serif and art deco design. Equipped with 220 Glyphs and has the current OpenType features. We made the uppercase letters slightly larger than the lowercase letters to give a good impression when used in designs that don’t require a lot of words, such as headlines or headers. You can try it like this, “HeadlineS” - Capital letters are at the beginning and end of a word. Bandung Pro & Aceserif Pro is suitable for a wine label, photography, invitation, ID card, tattoo, poster, logo, title, tees, branding, etc.

Morro is based on simple geometric shapes – circles, triangles and rectangles. Imagine cutting circles, triangels and rectangles from paper and arranging them into letters where the outer edges form a filled figure. Arranging figures like this to form letters is nothing unique. You can find several beautiful examples of alphabets that inspired the creation of Morro. Everywhere from a 1936 booklet by Draughtsman called ”Modern lettering for all branches of commercial arts” to obvious examples is from the paragon of the design industry - Milton Glaser - with his typeface Baby Teeth. What sets Morro apart from other digitized versions of Glasers' ”Baby teeth”, or other similar designed fonts, is that Morro is expanded into lower case and also supports Basic latin, Western European, Central European, south Eastern European and Pinyin. There are also stylistic alternatives to some of the glyphs. Morro Regular works like a stencil and is accompanied by a block shadow style and an outline. The Morro family of fonts are layered and can be superimposed on each other to create several types of text effects.

The Arabetic Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

Beauty Thalita and Extras are beautiful and modern fonts. Looks amazing on wedding invitations, thank you cards, birthday, tshirt desain, mothers day card, quotes, greeting cards, logos, business cards and any other design. This font is PUA encoded which means you can access all glyphs and swashes with ease! The font includes OpenType features with alternative styles, ligatures, and multiple language support. To enable OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There are additional ways to alternate / swash, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program like PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use a style font set in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Happy Designing!

In most cities during the 1950s and 1960s the corner pharmacy or soda shop was a mainstay of teenage life. It was a place to hang out with friends, hear the latest hits on the jukebox and indulge in everything sugary from malted milkshakes to banana splits. During this time, a popular form of window advertising was supplied by the Coca-Cola Company to promote its product being served by these locations. Specialty window decals designed to emulate drawn (raised) Venetian blinds "bookmarked" by the soda's logo were adhered to the shop's windows, with a space provided to add in customized lettering. The store's name or its specialties were applied to each window pane, and this formed a consistent border at the top of all of the shop's windows. Although few visual images exist of this specific bit of advertising nostalgia, an old record album by a late-1950s singer named Chip Fisher called "Chipper at the Sugar Bowl" provided a somewhat usable sample for what is now Soda Fountain JNL.

Melodi is the result of years of working with hand made types on my designs. Every time I draw the letters and words that I need for every design piece. One day I decided to go serious and make a real type of it and “Melodi” is the result of this work. It’s a calligraphic font, built using a regular stroke, and carefully crafted to have nice joins between all the letters. It has some playful but stylish capitals that brings lot of personality to the font. It work super nice either in lowercase writing as in all-caps texts. It looks specially good on lists of words or small sentences. Melodi is a playful but very versatile font, it can be used in lots of different scenarios. From creating a logo, writing the tittles of a catalogue or use it in a poster combined with other types (it work really well as counter point of more classical types) to motion graphics animations or advertising work. It can be cute but it also can do hard work!

AmpleNu is a display type family derived from the Ample typeface. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of sixteen styles which include eight upright weights and their italics. AmpleNu has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample typeface has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNu is designed by Aakash Soneri during the period between 2018-2020.

DT Portal: This stylised, partially serifed font, made with a slightly rounded square form, may have been inspired initially by old cathode ray tubes and computer screens. Although not intended to be purely a ‘tech’ font, it can have a strong tech feel to it. More suited to being a headline font than body text. It also appears to have a monospaced look to it, since most letters, (other than letters like ‘i, l and t’), do have the same width. There is some automatic contextual shape adjustment happening in places, to avoid taking up too much space, so contextual ligatures should be turned on. As is the case with most of my fonts, when given the choice, ‘metric’ spacing should be used in preference to ‘optical’. Initially this font was going to be called ‘DT Portal’, because its form was similar to that of a window or doorway. But due to other fonts already having that name, I chose to rename it as ‘DT Partel’, for no reason other than it is only a very small change visually.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

A bold-face font with interesting lower case letter forms.

Calla is a scripted typeface with an interesting personality. Each letter was created many times so you can get a truly distinctive look to your designs. Notice when you type with open type feature switched on, your letters will bounce around and change as you type? This feature ensures you get a new version of each letter throughout the words you use! Want to get even more custom? Pair all caps words with your lowercase words to create hierarchy!

Bold, rounded and super cool. Those are the attributes of my latest font “Vinyle”, french for vinyl. In this epoque where all fields of Design are giving a lot of importance and attention to Typography and Lettering, I felt it was my duty to contribute with something that could really stand alone and ‘say something else’ that just words to be read. I've found that lately in the world, regarding a finished piece of design, the role of Typography (and of letters in general) went from being secondary, (like a minor player or a supporting actor) to the most important one. People are starting to understand the beauty of a well-done letter: they want their storefronts with unique scripts, they want to drink coffee surrounded by lettered blackboards, they want to buy books with astonishing covers with swashes ‘por doquier’. I'm more than happy to be alive in a present where even the most unimaginable friends of mine, (who couldn't spot differences between comic sans and helvetica before) are now conscious of the importance of a letter, or let’s say: Of the ‘voice’ of Typography. With Vinyle I tried to make a font with power. Following the nowadays trend of, let me say, “the vintage sans renaissance”. This time I put my brushes and nibs aside and experimented with something new. It wasn't easy, if you will pardon, for me to see swashes all over the place withouth the classic calligraphic ‘thick and thins’, but with after some weeks of work I started to love them. Like I already showed you in other creations (1) let me finish with the phrase: GEOMETRY IS SEXY! TIPS Vinyle has a lot of attitude, it shouts “here I am!” it really can ‘design an entire piece’ for you with just a word or two: It was designed with a 10 degree slant on purpose so the user may rotate it (like on the posters) that amount of degrees in order to see better results. Use Vinyle with the ‘fi’ standard ligatures activates for better kerning and ligatures! NOTES (1) See my font Selfie , the ‘little sister’ of Vinyle.

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Rationalist useful links: Specimen | Graphic presentation | Customization options We thought, "What if we provide the user with a collection of matching fonts, each of which would still be unique?"—and so we started developing TT Rationalist. For those familiar with the bestsellers TT Norms® Pro and TT Commons Pro, the new font will be intuitive to use. It has similar proportions, characteristics and functionality, but yet it is an independent and original font family. Unlike the geometric sans serifs TT Norms® Pro and TT Commons Pro, TT Rationalist is a slab serif typeface. It is functional and original. Slabs are characterized by massive rectangular serifs, but in TT Rationalist they are trapezoidal and refined, which makes them look modern. Speaking of modernity, when creating the typeface, we wanted to avoid the excessive historicism that can be seen in many slab serif fonts. We have been particularly careful working on the Black style, which in the first sketches had something in common with the Wild West posters. When we balanced out the excessive contrast caused by visual compensation, the font stopped evoking retro associations. Now TT Rationalist Black is perfect for headlines, especially on posters and posters, and works great with Light styles in TT Norms® Pro and TT Commons Pro. The new typeface works well for both headings and text arrays. It looks especially aesthetically pleasing in printed production (books, magazines, brochures). The TT Rationalist typeface consists of 22 two styles: 10 upright, 10 real Italics and two variable fonts, each with over 950 glyphs. It supports over 200 languages and contains 27 OpenType features. In addition to the standard ones, there are Small Capitals for Latin and Cyrillic languages, alternative versions of the ampersand and the letter g. The italics have two stylistic sets allowing to switch the design of style-forming characters (k, v, w, y, z) between italic and classical forms. TT Rationalist font field guide including best practices, font pairings and alternatives. FOLLOW US: Instagram | Facebook | Website

Full of texture and regal personality, Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled “Liber Insularum.” The writing style is based on the Carolingian Script created by the Emperor Charlemagne and his scribe, Alquin of York, in the 9th century A.D. This old world lettering comes with new world OpenType capabilities, including swash caps and small caps. The James Ford Bell Library at the University of Minnesota commissioned Bill Moran to develop this font as a means of introducing their amazing collection of rare books, maps and manuscripts to a wider audience. Once the historic script was fontified by Bill, it was forwarded to Chank Co, where we added some snazzy baubles for the discriminating typographer. Everybody can enjoy the antique genuine nature of Bell Martellus, but advanced OpenType users also get extra features in Adobe CS applications.

Unleash your inner street artist with Rocket Queen! The definitive font for urban self-expression. Inspired by the bold strokes of tagging graffiti markers found on city walls, this font encapsulates the raw energy of the streets. Its uppercase and lowercase characters ensure versatility, while support for foreign languages guarantees global appeal. Graffiti artists worldwide adore its iconic rounded tip marker style for its unique and entertaining aesthetics. Rocket Queen's "Urban Tags" font is more than just a typeface; it's an urban art form. Designed with a nod to the vibrant world of graffiti scenes, this font embodies the spirit of tagging graffiti markers, creating a gritty, authentic experience. With full support for foreign languages and both uppercase and lowercase characters, Rocket Queen empowers your creativity. Its iconic rounded tip marker style, favored by graffiti artists globally, offers a unique and entertaining touch to your designs. Plus, it's enriched with street graffiti ornaments for that added urban flair. Rocket Queen is more than a font; it's the language of rebellion and urban creativity. Drawing inspiration from the bustling streets and tagging graffiti markers, this font captures the raw spirit of street art. Its iconic rounded tip marker style, beloved by graffiti artists worldwide, sets your designs apart with a unique and captivating aesthetic. Supporting foreign languages and featuring a complete set of uppercase and lowercase characters, Rocket Queen is your canvas for bold, edgy statements. Step into the world of street art with Rocket Queen, a font that embodies the raw spirit of urban graffiti. Inspired by the legendary rounded tip marker style, this font captures the essence of tagging in the streets. Its captivating, one-of-a-kind design is favored by graffiti artists across the globe. With support for foreign languages and a full set of uppercase and lowercase characters, Rocket Queen is the ultimate choice for artists who want their work to resonate with the vibrant, rebellious energy of the graffiti scene. And, don't forget to explore the collection of street graffiti ornaments to take your designs to the next level! "Rocket Queen" font is perfect for a wide range of creative and artistic applications. Here are some ideal uses for this unique and edgy font: Graffiti Artwork: Use "Rocket Queen" to create authentic graffiti-style artwork on canvas, walls, or digital platforms. Its street-inspired design will add an urban, edgy vibe to your work. Streetwear Brand Logos: Design logos and branding materials for streetwear clothing lines or urban fashion brands. The font's bold and expressive style is a great match for this niche. Event Posters and Flyers: Create eye-catching event posters and flyers for music concerts, art exhibitions, or street festivals. "Rocket Queen" will help your event materials stand out and evoke a gritty, streetwise feel. Album Covers: Design album covers for music genres like hip-hop, rap, punk, or any style that demands a rebellious and energetic look. The font can give your cover artwork an authentic street vibe. Tattoo Lettering: Tattoo artists and enthusiasts can use "Rocket Queen" for lettering in tattoos. Its unique graffiti-inspired characters can create distinct and personalized tattoos. Skateboard Deck Graphics: Use the font to design custom graphics for skateboard decks, reflecting the rebellious and urban culture of skateboarding. Street Art Installations: If you're creating street art installations, "Rocket Queen" can be used for text elements within the artwork, giving it an authentic urban graffiti feel. Urban Magazine Titles: "Rocket Queen" can be an ideal choice for magazine titles and headlines in publications that focus on urban culture, street art, or graffiti. Video Game Titles and Graphics: Design video game titles, logos, or in-game graphics for games with an urban or street culture theme. The font's distinctive style can enhance the game's visual appeal. YouTube Channel Branding: Content creators with a street art or urban lifestyle focus can use "Rocket Queen" for their channel logos, banners, and thumbnails. Product Packaging: For products targeting a youthful, urban audience, the font can be used in product packaging design, making the brand and product look fresh and exciting. Digital and Print Advertisements: Incorporate "Rocket Queen" in advertising campaigns that aim to connect with a young, rebellious, or urban demographic. The "Rocket Queen" font is versatile and can be adapted to a wide range of applications where a bold, streetwise, and artistic look is desired. It's all about bringing an authentic graffiti vibe to your creative projects. ——— Rocket Queen features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +345 Total Glyphs +100 Graffiti Swashes and Ornaments included!

Drawn by George Ryan and named after Robert Givens, the co-founder and first president of Monotype Imaging, the Givens Antiqua™ typeface speaks with elegance and subtle authority. The design's open proportions, generous x-height and soft serifs lend Givens Antiqua a gracious quality that invites reading. I didn't work from any single design model," Ryan recalls. "The face grew out of my experimenting with several characters from a hand-lettered headline in a magazine. I worked on the shapes and forms for some time before I put the drawings in a drawer." At that point Ryan had finished the basic alphabet in two weights, but had not yet tackled the italics. A new project came along that demanded his full attention, and it was two years before he revisited the drawings. He liked what he saw and decided to finish the job. "The italics were the most problematic designs in the family," says Ryan, "but once I had their basic shapes and proportions, the rest was basically a production project." Another year of sketching, testing, editing and reworking characters ensued before Givens Antiqua was ready for release. The result is a four-weight family of roman designs and small caps, with complementary italics for the lightest three weights and a suite of swash caps for the italic designs. Givens Antiqua and Givens Antiqua Light show a modest stroke weight stress and a light, even text color. Givens Antiqua Bold is an effective emphasizer for text copy and an authoritative communicator at display sizes. The Black weight performs best at large sizes and makes a powerful statement without shouting, while the italic swash capitals possess enough vitality to serve as standalone initial letters."