A text and display font with square proportions, inspired by the type styles of soviet-era Russia. Very shallow ascenders and descenders and a large relative x-height, exaggerate the compact and geometric look. Related to Kursk 105 , its squarer-edged cousin.

BRUZH combines attractive and natural hand-brushed letters with swinging curves and fresh urban edges; delivering a stylish brush which is guaranteed to add an eye-catching appeal to your logo designs, brand imagery, handwritten quotes, product packaging, merchandise & social media posts.

Lockon Velline wass inspired from a biker and tattoo style with progressive edge and sharp tips, to make the fonts more bold and dynamic. Equipped with Open Type features to activate the stylistic alternates to play with as desired for your individual taste.

ATC Duel is a strong, extra heavy multi-width sans-serif display font with sharp edges and an extended horizontal span, inspired by the automotive industry. Font contains 500+ glyphs, full alphabet, ligatures, numberals, accents and punctuation. ATC Duel was released in 2016.

Riveno is a display font with sharp edge. This font can be used in a various of designs such as headlines, cover, poster, logo and more. Feature: - Kerning - Alternative Style and Ligature - Uppercase and Lowercase Letters - Numeral - Punctuation and Symbols - Multilingual Supports

Kunze font was inspired by the work of German graphic artist Carl Kunze (Minden, 1884). Kunze is a fat display font; a little rough around the edges, a little wonky in places, but very distinguishable and useful. Comes with extensive language support.

Sugar Sand is a handwritten sans serif font. A new fresh handmade font with rough edges. This font is support multi language. It will be perfect for many different project ex: quotes, logo, blog header, poster, branding, fashion, apparel, letter, invitation, stationery, etc….

Knip, in Dutch, means ‘cut’. You can tell by the glyphs that I made this font by cutting out the shapes from black paper, gluing it onto white paper and photographing the result so I could digitalise it! I don’t make too many cut out fonts, as it is a lot of work and it often leads to nothing. Besides that, I depend on the paper supply from my kids and they happened to have black paper this time!

The Brush Strike Family is an exercise in dynamic, gestural brush type design by Francesco Canovaro. The typeface contains no lowercase set, but it doubles the uppercase with a strikethrough alternate set to be used for dynamic logo design and unusual word highlighting. Two weights are available with consistent design: the light weight (Brushstrike Light aka Lightstrike) can work together with the heavier regular weight but can also be used in white on dark background for light effects.

Carlos Winkow designed Reporter in 1938 for the Wagner foundry. The strokes of this interesting script have the texture of dry brushwritten letters. The alignment is slightly irregular, giving it a spontaneous feeling. Reporter No. 2 is a slightly simplified version of the original Reporter, without the numerous small white strokes inside its stems, which gave the original a scribbly effect. The font is bold and informal. It works well in signs, posters, and other display uses.

Nahid is a sans-serif font family designed by Naghi Naghashian in 3 weights: Nahid Light, Nahid Medium and Nahid Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Nahid supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nahid fulfils the following needs: 1. Explicitly crafted for use in electronic media fulfils the demands of electronic communication. 2. Suitability for multiple applications. Gives the widest potential acceptability. 3. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. 4. An attractive typographic image. Nahid was developed for multiple languages and writing conventions. Nahid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. 5. The highest degree of calligraphic grace and the clarity of geometric typography.

Say hello to the freshly baked beautiful and neat vintage serif font! Amazing handwritten font Nieves :) The unusual, freshly baked font is perfect for greetings, illustrations, children's books, delicious packaging, labels, logos and much more :) This beautiful neat retro font with imperfect ink edges and slightly sloppy shading is inspired by nature. Eco-friendly fashion takes into account the health of consumers, the health of the planet. The font "Nieves" is perfectly combined with any stylized graphics, watercolors, and also looks great on its own within the framework of a minimalist design. Play with letters to get different effects. Font features: A-Z; character set a-z; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for checking this out and feel free to write me a message if you have any questions! ~ Anastasia

Lemonado is a type family drawn with a dry brush pen. It includes upright and italic scripts and all caps fonts with brush texture or with smooth edges. Lemonado Script is playful and slightly bouncing connecting script. It includes two sets of lower cases to increase the hand writing effect. By enabling Contextual Alternates from OpenType panel you can cycle these two sets and achieve variation. Lemonado Script also includes set of lowercases without connecting stroke, you can use those in the middle of words or automatically add them at the end of words by enabling Stylistic Set 1 at the OpenType panel. There are also set of lower cases with end swashes, you can automatically add these swashes to end of words by enabling Stylistic Set 2 at the OpenType panel. Also other alternate characters and underlines are included to give you even more possibilities to play with. Lemonado Caps has two sets of upper case letters, high and low ones. You can achieve this fun looking bouncing effect by varying them. Just enable Contextual Alternates from OpenType panel and those two sets will cycle.

BaBa Rounded is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Rounded Light, Baba Rounded Regular and Baba Rounded Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa Rounded supports Arabic, Persian (Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa Rounded design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BaBa Rounded’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa Rounded was developed for multiple languages and writing conventions. BaBa Rounded supports Arabic, Persian(Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Thorfin is a sharp serif typeface. Drawn and created between 2020 to 2022, this modern lettering has a distinct personality while maintaining a regularity of a body text. Thorfin gives any project a smart character with its geometric shapes and crisp edges. The Thorfin family consist of 14 fonts, such as Thin, Light, Regular, Medium, Bold, Black and Italic. Also includes a variable font! Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about Variable Fonts: https://mansgreback.com/variable-fonts 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 Northern 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.

Behtab is a sans-serif font family designed by Naghi Naghashian in tree weights. Behtab Light, Behtab Regular and Behtab Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Behtab supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Behtab design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Behtab was developed for multiple languages and writing conventions. Behtab Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Decora Arabic is a new creation of Naghi Naghashian. Decora Arabic's design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Decora Arabic's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Decora Arabic was developed for multiple languages and writing conventions. Decora Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

The "Jack Knife" font is a unique, handcrafted font that perfectly captures the spirit of the medieval time period. With its spiky, pointy design, this font exudes strength, courage, and boldness – making it the perfect choice for anyone looking to add a touch of daring to their brand. The sharp, jagged edges of the "Jack Knife" font give it a rugged, rustic feel that is both timeless and modern. Its bold, thick strokes make it easy to read even from a distance, while the intricate details and delicate curves add a touch of elegance and sophistication. Whether you're looking to create a bold, daring logo for a whisky brand or add a touch of adventure to your design, the "Jack Knife" font is the perfect choice. Its unique design and versatile style make it suitable for a wide range of projects, from branding and packaging to advertising and social media. So if you're looking for a font that embodies the spirit of the medieval period and exudes strength, courage, and boldness, look no further than the "Jack Knife" font – the perfect choice for anyone who wants to make a bold statement with their design.

Download PDF Specimen See Blacker and Blacker Sans , the perfect matching companions of Blackest. Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called “italian” or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, and playful without losing elegance. With its exuberance and six weights of eye-catching proportions, Blackest is perfect for display use: editorial & magazine design, poster design and logo development - but to allow its usage as a for typesetting of longer texts a text variant in two weights has been developed, with less contrast, looser spacing, and high readability. Blackest features an extended character set that covers over 220 languages using the Latin alphabet, as well as Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures.

Gilan is a sans-serif font family designed by Naghi Naghashian in tree weights, Gilan Light, Gilan Medium and Gilan Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Gilan supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Gilan design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Gilan’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Gilan was developed for multiple languages and writing conventions. Jaleh supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Parvin is a new creation of Naghi Naghashian. Parvin design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used, and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parvin's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Parvin was developed for multiple languages and writing conventions. Parvin supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Halcyon is a post-geometric typeface made up of 16 fonts across 8 weights. Each weight contains an upright with a corresponding true italic. Halcyon's design builds on the foundations of classic typefaces such as Futura, Gill Sans and ITC Avant Garde Gothic, by mixing their geometric structure with more modern humanist qualities and attributes. The result is a friendly and approachable personality with a sophisticated and serious edge. Halcyon feels familiar, but unique, playful but not asinine. The versatility of its character makes Halcyon a reliable choice for any design decision. With a large variety of weights, and a whole host of Open Type features, Halcyon can adapt to fit the tone of your communications. The lighter weights present a more refined and formal voice, while the heavier, oversized weights grow more exuberant. It's large x-height and open apertures increase it's legibility, making it perfect for setting large display headlines or small sized, long form text. Halcyon is a multilingual family with hundreds of accented characters, and allows for customisable characters through diacritic combinations. All European languages are already covered, alongside many more within the Latin alphabet.

Introduction to Rapsed Vintage – Stamp Font Rapsed – Vintage Font is a unique serif font, embodying a retro and vintage feel. It features a grunge, stamped, rough appearance, ideal for nostalgic designs. This font captures the essence of a bygone era, making it perfect for projects seeking a classic display. Design and Texture Rapsed’s design boasts large, prominent serifs, giving it a bold and distinct look. Its textured, rough edges simulate a stamped effect, adding an authentic vintage character. This grunge aesthetic is not only eye-catching but also adds depth to the font, enhancing its retro appeal. Versatility in Use Rapsed is versatile for various design applications, from branding to poster creation. Its vintage style is perfect for thematic restaurants, event flyers, and historical projects. Additionally, its distinct appearance makes it suitable for book covers and merchandise that require a touch of nostalgia. Accessibility and Appeal Designed to be user-friendly, Rapsed appeals to a wide range of audiences. Its simplicity in design ensures readability, while its unique character captures interest. This font is a valuable asset for designers aiming to infuse a vintage feel in their work, bridging the gap between past and present design trends.

Afshid is a sans-serif font family in three weights and tow width. Afshid Regular and Afshid ExpandedRegular, Afshid Bold and Afshid ExpandedBold, Afshid Heavy and Afshid ExpandedHeavy. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. Afshid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afshid design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Afshid’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Afshid was developed for multiple languages and writing conventions. Afshid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Kamane is a new font family, designed by Naghi Naghashian. It is based on classic calligraphic “Naskh” with the modern typographic metric. It is a Font family, in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Kamane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Kamane design fulfils the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kamane was developed for multiple languages and writing conventions. Kamane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Get to know the beautiful natural and neat font "Koni"! This beautiful neat retro sans-serif font with imperfect ink edges and a little sloppy shading is inspired by nature. This is a textured font in vintage style with capital letters. The letters here are clearly distinguishable, and interesting touches give it uniqueness. Eco-friendly fashion takes into account the health of consumers, the health of the planet. The font "Koni" is perfectly combined with any stylized graphics, watercolors, and also looks great on its own as part of a minimalist design. Play with letters to get different effects. Great for branding, invitation design, packaging design, quotes, label design and more. Font features: - A-Z; character set a-z; - 1 language (English); - numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love and magic ♡ Thank you for checking this out and feel free to write me a message if you have any questions! ~ Anastasia

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

When Patricia Lillie was growing up, she thought the coolest thing in the world would be finding her own name listed in a library catalog. The fantasy came true in 1986 when her first children's book was published. Five more followed. The thrill of seeing her work on library shelves hasn't abated, but today, Lillie is just as likely to see one of her typefaces on the cover of a book. She has created several display faces and image fonts. My first typeface designs were based on lettering I'd done while working for a library, doing graphics work for the children's section," she explains. "I currently do a lot of web design, but type is my favorite thing." The Tickles (ITC Tickle and ITC Tickle Too) are Lillie's first ITC typeface releases. "I was playing around with a Sharpie marker one day and liked the way the letters looked," she recalls. "I started redoing the letters from scratch in Fontographer to see what developed, and liked those letters too." ITC Tickle is a bi-form font (with both cap and lowercase letters of the same size) that clearly breaks a typographic rule or two. ITC Tickle Too has the same basic lettershapes, but they've grown clusters of stipples that give a three-dimensional quality to the design. The result is a friendly, offbeat display family that's guaranteed to add a giggle to your work."

Indulge your aesthetic sensibilities with Maychurch, a typeface of unparalleled grandeur that evokes the most magnificent architectural styles of history. Inspired by the meticulous craftsmanship of drafting technicians, this font is the pinnacle of precision and refinement. Maychurch is the perfect choice for those who appreciate the grandeur and opulence of Georgian, Neoclassical, Federalist, or Victorian styles. It exudes a timeless elegance that transports the viewer to a world of grandeur and sophistication. With its bold, clean lines and intricate details, Maychurch will make a bold statement in any design project. It captures the essence of grandeur and timeless elegance, conjuring images of awe-inspiring landmarks such as the White House and the British Museum. So why settle for ordinary typography when you can have Maychurch? Elevate your designs to new heights of sophistication and beauty with this architectural masterpiece of a font. Make your mark with Maychurch and impress your audience with a sense of refinement and taste that is second to none. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

Introducing the IMars Font - the future of typography is here! This sleek and modern font is the perfect addition to your design arsenal. Its clean lines and minimalist elegance make it ideal for contemporary, sci-fi, and space-themed designs. But that's not all - the versatility of the IMars Font also makes it the perfect choice for branding, adventure, and music projects. With its cutting-edge design, this font will bring your projects to the next level. Whether you're creating a stunning sci-fi movie poster or a sleek and stylish brand identity, the IMars font has you covered. So why wait? Get creative and try different styles and kerning combinations to find the perfect look for your project. Embrace the future of typography with the IMars font today! Try different styles and experiment with kerning for best results.

Magenos Soft is the rounded version of Magenos typeface family. It is a modern geometric sans serif family characterized by its simplicity and extensive functionality. With its open apertures, geometric architecture and low contrast strokes, it expresses a sincere tone with a modernistic, neutral, yet friendly personality. It has been designed to work well for a wide range of applications and is a reliable workhorse. Equally suitable for print and screen usage, it works well for both text and display at a wide range of point sizes. The addition of true italics gives the whole family a dynamic edge and flexibility. Magenos Soft comes with many OpenType features including stylistic alternates, standard ligatures, oldstyle and lining (proportional and tabular) numerals, slashed zero and a variety of symbols, making it a perfect choice for contemporary and professional typography.

Mystical Woods is a script and caps font duo. I went back to the basics for this one -- ink and a brush on paper. I cleaned up the letters enough so that there are no jagged edges, but left enough of the character to keep that inky look -- those are the Rough fonts. Then I went back through again and cleaned the heck out of them, making every line and curve smooth for our cut-crafting friends -- those are the Smooth fonts. Since these two fonts were written together with the same tools and style, you can also mix the script letters in with the caps letters! Each font comes with a full set of standard characters and punctuation, as well as over 300 extended Latin characters for language support. And the script fonts also have 45 double-letter ligatures!

Proudly present "Simply Harmony -Vintage Monoline Font" Simply Harmony comes with 2 styles that have their own characteristics. Simply Harmony Regular : has a clean and elegant style. This font has a more modern feel, so you can apply it to modern-themed projects. Simply Harmony stamp: this font has a rough style both in the middle and the edges of each letter, this font has a vintage feel and can be applied to various needs. This font has 114 awesome alternates and has 311 total glyphs, there are various kinds of alternates that you can use as you wish. I really hope you enjoy it – please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thank you

As part of the day job I had to trace an old hand drawn logo of a Masonic Lodge from a very poor scan. When I finally got to the end of it I had almost a whole alphabet and I really liked the hand drawn uneven quality, so I made up the rest of the letters and set about making it into a font. I roughened up all the edges for an even older look, added a host of OpenType features and hey presto, Masonic Lodge was born. There are two versions of each letter and number which automatically alternate when contextual alternates are set, more alternates for O and o characters, a good amount of interlock style L and T ligatures (uppercase) and a square & compass ornament. Use it for pub signs, secret society meetings, monster movie titles and pub menus.

From the fluid brushstrokes of Teri Kahan's lettering comes a tropical treasure: ITC Puamana, graceful as a palm tree in the ocean breeze. “Puamana” is a Hawaiian word with several meanings; among them are “the blossoming of miraculous power” and “sea breeze.” ITC Puamana captures the essence of the tropics, suggesting the sway of palm trees in the ocean air. With its ragged edges and italic slant, this brush-written alphabet has a unique visual texture that graces the page with spirited movement. Sketched on the beach in Maui by west coast designer Teri Kahan, ITC Puamana first saw life as apparel art for a Hawaiian clothing company. Now this versatile typeface is a complete alphabet that's useful for both text and titles. ITC Puamana can be put to use in everything from book jackets to in-store signage.

Introducing Theossaint font, the epitome of modern beauty in typography! This font is the perfect mix of contemporary and classic elements, making it the ideal choice for your next design project. With its clean lines, sharp edges, and bold presence, Theossaint font will elevate any design and make it stand out. Whether you're designing for a modern brand, a fashion label, or an editorial publication, this font is sure to make a statement. Get ready to add a touch of modern beauty to your design with Theossaint font! Featured: Standard, Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw, so you can use all the variations of the glyphs. Hope you enjoy our fonts!

The 2nd installment of the Enchanted Land family takes us on another medieval adventure, opting to completely rebuild instead of refining the legacy script. More emphasis was put into the undulating nature of the Uppercase characters and how they keep your eyes flowing. For this reason, straight lines and right angles are rarely used in favor of flamboyant terminals and wispy swashes. Lowercase characters, by contrast, adhere to a consistent model defined by its straightened edges and sharp corners. This script flirts with several old world styles but seeks only to borrow elements rather than completely emulate them. German Blackletter, Old English, Uncial, Victorian, it’s in there! Enchanted Land DS would work well in a book, video game, or medieval signage. This family is equipped with Basic Latin, Extended Latin, ligatures, punctuation, a few alternates, and kerning.

Yes Script says Yes! Yes Script is a bold connected brush script inspired by the typography of the late 60s and 70s. Yes Script is not an anachronistic vintage type -due to it’s clean features and straight edges it’s more of a contemporary design suitable for branding, packaging, magazines and so on from digital to print. Yes Script is equipped with Contextual Alternates and Standard Ligatures that are automatically on and help to keep the flow of the font natural and connections between letters smooth. In addition there’s Swash, Titling Alternates and two packs of Stylistic Sets. Access the alternates in any OpenType savvy software or seek the Character Palette for even more alternates. Stylistic Set 3 is packed with 24 swooshes and ornaments set in letters a-x. Yes Script is PUA encoded so you can access the alternates in any software.

ITC Motter Sparta is the work of Austrian designer Othmar Motter and for its inspiration, he turned to car design. As we all know, trends in car design affect many other fields of design in a way that shapes tastes." At the end of the 1990s, Motter saw the trend moving away from soft lines and toward a tighter, tenser look: "In this latest trend, sharp clearly-defined edges meet broadly-drawn, dynamic curves and cut them off sharply." And so too is ITC Motter Sparta, with each character form distinct, which also creates a typeface instantly recognizable from a single character. "The sharp straight strokes, cut off almost at right angles, and the strong cross-stroke curves, ending in points, form a charged contrast to the vertical and horizontal straight strokes that give Motter sparta its taut framework.""