Shodo Gothic is a mixture of western black letter typography and asian calligraphy.

Mintely is a sophisticated and versatile serif font family designed to elevate your typography to new heights of elegance and legibility. With its 6 style variations and 8 weight options, this font offers an extensive array of choices to suit a wide range of design projects. This family combines classic and modern elements, resulting in a timeless design that can adapt to various design contexts. The 6 style variations in this serif provide you with a variety of typographic options, allowing you to experiment with different looks and moods. Whether you need a sleek and minimalistic appearance or a more decorative and ornate style, Mintely has you covered. Additionally, the 8 weight options in Mintely offer a wide range of possibilities in terms of contrast and emphasis. From thin and elegant weights to bold and impactful variations, this font family ensures that you can effortlessly find the perfect weight for your specific design needs. Because of its legibility you can use this font in a variation of text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mintely fits in headlines, logos, posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any many more. 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.

Surf's up! Take an unforgettable adventure to the sparkling shores of Paradise Point. Ride our 25 majestic weights, from tranquil tall & thin to thunderous wide & heavy. Expand your horizons with the versatile Variable font to select any spot between. One-of-a-kind activities: Drop in a thrilling Inline weight for stylistic flair. Overlay with the matching Heavy for striking color effects. Discover hidden wonders! Stylistic Alternates will take you to the scenic heights of uppercase in a friendly lowercase style. Or immerse your text in interlocking Discretionary Ligatures for an authentic Tiki Type island experience. Enchanting views: Two versions of each letter and number automatically rotate for a natural, hand-drawn appearance. The Light weights have round ends to simulate a single pen stroke, which matches the center of the Inline weights for a perfect pairing. Explore! If you venture into unknown territory, each weight of Paradise Point contains 775 glyphs for stress-free support of over 200 languages. An all-inclusive getaway: Each weight of Paradise Point includes the features above, and can set readable body text as well as create striking logos and headlines. Use it for restaurant menus, surf and skate brands, or any design project where you want to convey lively, friendly, stress-free fun.

Introducing "Ryzes" – a font that plunges you into the immersive world of cyber graffiti with a distinct cyberpunk feel. This font is your gateway to a dystopian digital realm, combining edgy aesthetics with a futuristic vibe that speaks of rebellion and technology. "Ryzes" captures the very essence of the cyberpunk genre, offering a text that embodies the rebellious and high-tech spirit of a dystopian future. Each character resonates with the anarchic energy and unconventional style of cyber graffiti, making your designs pop with a captivating and distinctive edge. In our globalized world, language is a bridge that knows no borders. "Ryzes" is equipped with extensive multi-language support, ensuring that your message can be effectively communicated to audiences around the world, regardless of language or script. Complete Character Set: "Ryzes" boasts a comprehensive character set that includes both uppercase and lowercase letters, numerals, and a rich selection of symbols and punctuations. This versatility ensures that your text is not only visually stunning but also functionally adaptable. But that's not all. "Ryzes" takes your creativity a step further with an extruded version. This adds depth and dimension to your designs, allowing you to effortlessly create 3D text that embodies the cyberpunk aesthetic. The combination of the regular and extruded styles offers endless possibilities for crafting captivating 3D designs. Whether you're working on cyberpunk-inspired branding, futuristic posters, or any project that demands a cyber graffiti aesthetic, "Ryzes" is your ultimate companion for pushing the boundaries of design. Dive into a world where rebellion meets technology and let "Ryzes" be your creative tool in crafting designs that resonate with the electrifying spirit of the cyberpunk genre in 2D and 3D dimensions, bursting with color and pop culture excitement. ——— Ryzes features: A full set of Uppercase and Lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +274 Total Glyphs ——— Ryzes Includes: Ryzes Regular Ryzes Extruded Left Ryzes Extruded Right

Introducing the stylized Miluero family. Graceful cut, rounded corners combined with austere shapes. Accent fonts with color padding and a classic basic monochrome version in the set. Perfect for logos, headlines and captions. Looks elegant in a minimalist modern design. An assortment of colors will help you get started quickly. This font family is based on the Regular font Pacardo - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Miluero Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different forms. - Color in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Googie Architecture, also known as "Midcentury Coffee Shop Modern," was born in California during the Atomic Age. Martini at Joe's is based on lettering from several historic Googie sources - many of which no longer exist. The futuristic Martini at Joe's collection was named for Northern California's famous Italian-themed "Joe's" restaurants, some of which are still serving up large portions of charbroiled beef steak, canned buttered veggies and pretty decent martinis. Martini at Joe's contains many fabulous typographic extras – and is available in single font packages or as a 15 font interchangeable Megaset (with "italic-esque" obliques and "retro obliques"). Martini at Joe's is perfect for use as commercial signage, on the menu for your coffee shop, supper club, tiki bar, fish grotto, smorgy, space port or destination casino. It also holds its own in any vintage store, on greeting cards, t-shirts, hi-brow gallery announcements, product skins, your 'zine masthead, on the faceplate of your futuristic microwave oven, tv dinner packaging, at millionaire's conferences or even embellishing the fuselage of your latest jet airline venture. Martini at Joe's: there's no better way to say, "Hold the olive, I'm having a moment."

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Blackleather is a gothic display typeface best for dark and moody vibes. Included are full sets of upper and lowercase letters, numbers, symbols and bonus alternate characters for select letters. Blackleather is designed in a classic blackletter style with sharp, clean 90º/45º lines for the highest quality output possible.

Antibes is a casual italic face with print caps and cursive lowercase letters. Antibes works well with colorful, freeform illustration and travel-related material like illustrated travel brochures and callouts for maps. All-caps paragraphs are an easy read and letter-spaced all-cap treatments can be used for titling.

"Cute Easter" is a unique and playful display font. The letters in this font are so cute because they have been specially designed. This font is equipped with uppercase, lowercase letters, numerals and punctuations, and multilingual support. Can be used for Easter moments, greeting cards, cartoons, comics, movie titles, and more.

Bulk Weight JNL is a stripped down version of Inline Square JNL (based on 1930s sheet music hand lettering) with the inline removed. What is left behind is a thick, bulky, ultra bold lettering style suitable for attention-getting headlines. Bulk Weight JNL is available in both regular and oblique versions.

This hand-lettered italic casual is another versatile font produced by Jeff Marshall, aptly named “Flick” due to its off the brush casual feel. This style was a work horse back in the day where it was used on cafe menu boards through to regulation lettering on trucks and aircraft.

Hardiness is an amazing hand lettered font. Every single letter have been carefully crafted to make your text looks beautiful. This font is suitable for invitations, branding, advertising, classic design, poster design, and more. This font is PUA encoded so you can access extras from character map in most design software.

Welcome Home JNL gets its inspiration from metal letters and numbers affixed to homes, posts and mailboxes in the 1920s and 1930s. The block style of lettering that was silk screened onto enameled rectangles of steel was especially popular during that time period. This font has a limited character set.

The Ugaritic alphabet is a script with ancient letters that was used around 1400 BC. Ugarit is an Old Southwest Semitic language and was found in Ugarit, a place in Syria. It has 30 letters. Other languages ​​(especially Hurrian) are sometimes written in the Ugaritic script in the area around Ugarit

Gothic Initials One was inspired by the beautifully-written gothic scripts of medieval scribes. The font contains the upper case letters A through Z under both the character set and shift+character set. This font is intended for use as initials, monograms, drop caps or wherever fancy letters are desirable.

Letrinth is a bold, informal sans-serif face. Its lower case is unusual in design; some of the characters are scaled versions of the upper-case letters. It was developed from a special alphabet I used to construct a maze and its name (LETters for a labyRINTH) reflects that origin.

Gothic Initials Three was inspired by the beautifully-written gothic scripts of medieval scribes. The font contains the upper case letters A through Z under both the character set and shift+character set. This font is intended for use as initials, monograms, drop caps or wherever fancy letters are desirable.

Gothic Initials Seven was inspired by the beautifully-written gothic scripts of medieval scribes. The font contains the upper case letters A through Z under both the character set and shift+character set. This font is intended for use as initials, monograms, drop caps or wherever fancy letters are desirable.

Go, team, go! Fight, team, fight! Win, team, win! Here’s a family of typefaces based on typical athletic jersey lettering, in sans and serif styles, with inlines and an extrabold Letter Sweater treatment. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

What's the hurry? Take your time! Take the first step with your Slow Foot and something (good) will show! :) A fun font with contextual alternates that leaves you with 6 different versions of each letter. That's really nice when you want to spice up the variation of letters as you write.

Hammock is a chilled and simple handwritten typeface. Having the combination of the large capital letters and the small lowercase enable you to play with the font uniquely and flexibly. Also, its left-slanted letters give a bit of special look to the typeface. Most of the european languages are supported.

1920s sheet music for the song "You Can't Get Away From It" provided the hand lettered title which acted as the basis for Nouveau Roundcorner JNL. A square letter form with rounded terminals, this condensed face is perfect for titling, yet has a bit of an informal, casual charm to it.

Gothic Initials Four was inspired by the beautifully-written gothic scripts of medieval scribes. The font contains the upper case letters A through Z under both the character set and shift+character set. This font is intended for use as initials, monograms, drop caps or wherever fancy letters are desirable.

Designed by Romanian lettering artist Andrea Stan, Thanks is a contemporary script packed full of quirky shapes, bouncy baselines and uneven letter heights. This makes Thanks a truly fun and friendly design (Oh and also very polite!). This off-beat font is Bold, monolinear and has a subtle inline twist.

He's heavy! He's huge! He's PONDEROUS! Regular & outlined hand drawn upper case display font for maximum impact headlines - or make your text dance combining the different sizes & variants of the font - Regular, Condensed & Expanded! Lowercase letters hold slightly altered versions of the uppercase letters for a trustworthy and hand drawn look!

Smash is nicely distressed and has cracks, chunks and blobs. Some people think it looks like a crappy FAX or broken typewriter. It is compatible with Overexposed, so you can mix and match letters so you don't have two of the same messed up letters in a row.(Pretty cool huh?)

Introducing ! The Playing are 3 Fonts made in thick norms and mono lines that cover all upper and lower case letters, also European letters. This font is very suitable to be applied to children's displays in the form of Games, T-Shirts, Books, Mugs, Mock Ups, Greeting Cards and others. Thanks

Alyson Signature is a Handwritten Signature Font, font with a touch of handwriting style. This font is perfect for creating signature logos and watermarks for photography studio or wedding invitation. Alyson Signature includes full set of beautiful hand lettered uppercase and lowercase letters, numerals and a large range of punctuation

Phi Caps is a geometric all caps typeface designed on the basis of the golden ratio. Its simple monoline letters come together in a solid font. Note: There is a new and improved version of this typeface called Phi. It includes lowercase letters and supports Central, Eastern and Western European languages.

A set of charming letters of the alphabet combining picturesque landscapes with inventive lettering. This entrancing and uniquely inventive font depicts a beautiful and decorative alphabet representing an idyllic era now gone. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters.

Nightowl JNL is a headline font encased in rectangles inspired by an Art Deco hand-lettered alphabet found in a 1941 edition of the Speedball® Lettering Pen instruction book. There is only a basic character set plus two different width blank rectangles located on the greater and lesser keys.

Aside from his 1920s and 1960 editions of Sam Welo’s “Studio Handbook – Letter and Design for Artists and Advertisers”, Welo also published “Lettering - Practical and Foreign” in 1930. A monoline Art Deco Alphabet from that book is now available digitally as Ladies Wear JNL in both regular and oblique versions.

The cover of the 1902 sheet music for "I'll Be Baby in Baby's Place" features the title hand lettered in a wonderful Art Nouveau slab serif style with many eccentric letter forms. This is now available as the digital typeface Nouveau Slab Serif JNL, in both regular and oblique versions.

Benang Merah is designed by Zainul Faozi, the idea concept is from a thread, each letter is connected that is the uniqueness of this font. You can use this font for your poster design, heading, social media, lettering design, and more. This font can be paired well with serif fonts.

Gothic Initials Six was inspired by the beautifully-written gothic scripts of medieval scribes. The font contains the upper case letters A through Z under both the character set and shift+character set. This font is intended for use as initials, monograms, drop caps or wherever fancy letters are desirable.