The IronOn fonts are a collection of geometric display faces that were inspired by the iron-on t-shirt lettering of the 70s. The original source came from a submitted sample to the MyFonts "What the Font" forums, and while it had similarities to ITC Machine, it could not be tied to any existing typeface. And so, this new geometric sans family was born, exhibiting a more open letterstyle with several weights and widths, with a complete capital and lowercase set, no allcaps set here. Ideal for packaging, T-shirts, advertising, or for industrial applications like signage and newsletter headlines, this powerhouse font family offers a unique rigid flexibility.

Cathiy Betiey Script is a beautiful modern calligraphy script font that is suitable for branding, wedding invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer.

The techno sound of the 1990s, a personal computer, font creation software, and some inspiration all came together to inspire the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual typefaces, which would be used in the leading German techno magazine of the day, Frontpage. Even typeset as small as 6-points, in nearly undecipherable layouts, it was a pleasure for the kids to read and try to decrypt the messages. Bubbly black letterforms dancing across the line: this is F2F Tagliatelle Sugo, a funky font from Alessio Leonardi. Try it out in a big headline today!

Struffoli are small, marble sized deep fried dough balls from Naples. They are served with a variety of sweet condiments, like honey, sugar and sprinkles. There is nothing deep fried about Struffoli font, nor does it resemble a deep fried dough ball: I just liked the name and at least now I can say what Struffoli are! Struffoli was handmade using a brush and Chinese ink. It does look like a connected script font, but it is not (really): only a few letters connect, making it a more versatile font. Use it for your cookbooks, posters and toy packaging. Rest assured, it comes with a generous serving of diacritics.

The techno sound of the 1990s, a personal computer, font creation software, and some inspiration all came together to inspire the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual typefaces, which would be used in the leading German techno magazine of the day, Frontpage. Even typeset as small as 6-points, in nearly undecipherable layouts, it was a pleasure for the kids to read and try to decrypt the messages. The glyphs in F2F Prototypia Multipla have been turned into mini letter collages. Text set in this font will take on a quilt-pattern-like appearance.

A really, really long time ago, I watched a movie called ‘The China Syndrome’ (starring Jane Fonda, Jack Lemon and Michael Douglas). It was one of those disaster movies that were quite popular at the time (I also recall airports, alien viruses and skyscraper fires). Anyway, when I finished this font, I suddenly (and quite inexplicably) remembered that movie, so I named this font after it. China Syndrome is a legible brush font - ideal for your product packaging and halloween posters. Maybe use it for a metal album cover, a book about nuclear disasters or, dunno, the logo of your really strong coffee brand. Whatever. Just enjoy!

Quicknity is an angular serif font with future nuances, and consistent angles throughout each letter, uppercase and lowercase have the same size, so you can exchange between them in any design. Quicknity is perfect for large text, like headlines or designs with short text. What's you get : Standard glyphs Ligatures (Opentype features) Web Font International Accent Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Thank You

I wouldn't recommend that you use this font for massive text, or text written in CAPS ... but then again, go ahead and try - I even kerned all the capital letters ... just in case that you would do something so crazy! :) Dynamique is a kind of a "straight out of the highway" grid-font. But then again, not ... if you use the lowercase alone, you have this almost monospaced font - try starting every word with a capital letter, and let it end with the alternate ligature, your words suddenly got even more power! If you want to go lightspeed - then use the same technique, but only with the italic version!

Selektor Slab is small font family created as logical extending of the Selektor font family. Inspired and after that designed with the charm of technical letters, it contains a few letters with specific endings that gives Selektor Slab peculiar impression. Global overview of Selektor Slab says it’s a neutral, corporate, stable, well balanced font family, but not cold and heartless to leave readers without remembrance on its characteristics. It is fully appliable in all kinds of publications, from long texts in paragraphs to titles and product names. Available in 3 weights - Light, Regular and Bold and matching Italics. All family members include Small Caps and Fractions as additional OpenType features.

introducing our new product, the name is Govandi Adhiwan Sans Serif Font Family comes with 9 different weights. Modern Sans Serif font that feels beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book cover, website header, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities. Designed with powerful OpenType features in mind. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as editorial design.

Syracuse is a font inspired by the typefaces of the "Arts & Crafts" designers of the early 20th Century. As such, it has a distinct "hand" look. In "Syracuse" you will find hints of Dard Hunter's work at the Roycrofters in East Aurora, New York, a little of the Art Nouveau style of 1900 Vienna, even a touch of Charles Rennie Mackintosh's design ideas in Glasgow, Scotland. The font was named for the city in New York where Gustav Stickley produced his Craftsman furniture. Syracuse owes a debt to all of these sources yet is original and different from any other "Arts & Crafts" font available.

I created the brush font named "BrushType Standard" in my unique brush style. I made it for ad designers. I believe this is the only one brush font in the world, so using it will enable them to get easily satisfied on their work. Brush handwriting in Japan has a long and proud Tradition and History. I tried to interject this feeling of Tradition into my font designs for you to comprehend its true meaning. I trust I have succeeded to convey my feelings to you. In addition, I can say each letter of the "BrushType Standard" is truly art. I am a pioneer of Brush Art.

Lumios Typewriter is a slab serif font that was inspired by, as you may guess, an old typewriter letters. The family has 4 unique styles: New, Used, Old and texturized Tape. All fonts benefit from OpenType features such as stylistic alternates that enhance a natural look of this font family. As well as Latin-based language support, it also offers a basic Cyrillic one. It is ideally suited for websites, packaging, editorial and branding design needs as well as for posters, greeting cards, billboards etc. Lumios Typewriter is a perfect companion to Lumios Marker, sharing the same soft curves and clean letter edges (excluding theTape style).

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

Charming young Italian lady named Donna Lucia that is my handwritten script font. Donna Lucia is feminine and graceful calligraphic handwritten script font as plus a Symbols font with 52 lovely hand-drawn swashes and illustrations. Donna Lucia script is perfect for branding, logos, wedding stationery, social media, packaging, and other projects that require an elegant touch. Donna Lucia feminine font includes also Cyrillic glyphs. Uppercase lowercase and lowercase with flourishes. Donna Lucia script contains a full set of uppercase letters and 3 full sets of lowercase letters, (standard, alternative, and initial form) and 27 ligatures - which can be used to create a handwritten calligraphy look. Donna Lucia Symbols is a font with over 52 hand-drawn elements, illustrations, and swashes and can help to make your design more original. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Donna Lucia Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian and Ukrainian languages.

I can best describe the Thaun family as a general purpose display family, inspired by Scholtz Fonts' " "Delikat". I wanted to produce a display font that was more robust than Delikat, without losing the delicacy of the original. In order to do this I thinned solid, curved strokes toward the baseline, and let them dwindle to gently rounded points. As a graphic designer I became aware that designs that used a number of styles from the same family seemed to work well. This was easily done using a standard sans serif font such as Arial or Helvetica. However, when a different look is needed, display fonts do not always have a the variety of different styles that are necessary to produce a coherent design. Thus with Thaun, the challenge was to create a coherent family based on a display font. The archetype of this family is Thaun Regular with six different widths forming closely related styles. There are also two variants of the archetype i.e. Thaun Black & Thaun Rough to add variety to the primary style. An additional sub-family, Thaun Accord, appears in two widths. Thaun Jazz is a wide three dimensional variation. Thaun has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Opentype features include automatic replacement of some characters and discretionary replacement of stylistic alternatives.

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

Antikor is "mono geometric sans" family consist of 3 styles, 55 fonts with real italics... All fonts of family contains 800+ glyphs, and equipped with many typographic features. (Styles: Mono, Text and Display) Antikor Text is designed for those who prefer to use monospaced fonts not only in coding but in many different media of graphic design. The idea came from creating a typeface with monospaced aesthetic without disturbing aspects of monospaced typefaces . Antikor text has proportional spacing and precise kerning to avoid poor rhythm and track in reading text. It also provides wide range of useful features with extended glyph sets and opentype features. Antikor Mono is geometric sans monospaced typeface with all typographic features except spacing and kerning. As other styles it has many opentype features and extended character set including SmallCaps, Stylistic Alternatives, Scientific Numbers, Fractions, Oldstyle Numbers, Case Sensitive Forms, Arrows, Circled numbers and etc... It is designed to meet all the needs of the monospaced text medias... As Antikor is a versatile family, Antikor Display is a very alternative typeface with playful calligraphic curves. It is designed with the idea of creating a contrast and eye catching touch in display use of typography. It creates tasty contrast against the serious and solid monospace look. Each style has 11 weights ranging from Hairline to ExtraBold + real italics, consist of 22 fonts.

The idea for this completely new font design with overlapping characters came when Axel Stoltenberg, longtime IKARUS program developer at URW + +, visited a restaurant. As it can be seen quite often , the daily specials were offered handwritten with chalk on a blackboard applying a writing technique never been available before for digital fonts: each character is partly covered by its predecessor creating a three-dimensional effect. The implementation of this unusual notation for digital setting required a lot of programming and testing until all necessary character variants were produced and set properly always using the correct form. In order to achieve this, the OpenType Pro font ThreeDee contains about 12,400 characters and all the necessary OpenType features (GSUB ) for the automatic setting in OTF savvy application programs. The slightly playful basic design for ThreeDee was created by Anna Stoltenberg , the daughter of Axel, specially devised for the innovative representation and support of its special nature. The shadow generated with IKARUS even intensifies the 3D effect. As is well-known, making use of the embedded OTF features, i.e. the automatic access to all the 12,400 character variants , a corresponding text / layout program ( InDesign, Quark Xpress, current Open / LibreOffice or MS Word etc. ) is required. ThreeDee is a headline font that will unveil all its charisma and exceptional quality at appropriate, larger sizes.

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

Orka Condensed Sans is a stylistic font developed within a set grid that creates harmony and form through elegant forms, for use at both text and display sizes. Orka Condensed is perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, body copy, digital and more. Multi-language support.

Fado is a calligraphic typeface based on the broad nib calligraphy. It has a lot of alternates, ligatures, initial and final forms. The font has 3 sets of length and complexity of ascenders and descenders. It allows the user to chose the style: simple, with more complicated forms, with a lot of flourishes, and even mix all 3 styles.

Body Art is a unique font whose upper-case and lower-case characters are formed by combining the silhouettes of two to four men and women of different figures and sizes to form the letters of the alphabet. Each of these carefully orchestrated combinations of human silhouettes is its own unique example of inspired typographic body art.

There has long been interest in the talismanic value of different numbers and their varied many - pointed stars or patterns. This font presents star designs with points numbering between five and twelve, in solid form, outlined, interlaced, and placed within a circle. Whether your interest is mathematical or mystical, We hope you will enjoy this collection of forms.

Finding the right fonts for your projects is a challenge because improper fonts will deliver improper messages resulting in unprofessional appearances. Therefore, Trafit is here as your problem solver. This is Trafit, a perfect font to show luxury, class, and eternity. Trafit is an outstandingly designed stylish serif font. Its soft, clean lines and indentations show elegant impressions for your prominent designs. Its letter edges have hooks like the other serif fonts. The simple shapes and even sizes help to make it legible. Due to the great legibility, this font is applicable for any text sizes and length. In addition, you can enjoy the features available here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Trafit fits best for various design projects, such as brandings, posters, banners, greeting cards, magazine covers, quotes, printed products, merchandise, social media, etc. 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.

Momento – A Stylish Script Monoline Font Momento, a stylish script monoline font, effortlessly marries elegance with modernity in a seamless dance of curves and lines. The graceful strokes of each letter exude a sense of sophistication, making it an ideal choice for projects that demand a touch of refined aesthetics. The monoline design maintains a consistent thickness throughout, adding a contemporary flair to the timeless script style. With its fluid connections and balanced spacing, Momento captures a harmonious rhythm, allowing the script to flow effortlessly like a well-choreographed dance. Whether employed in invitations, branding, or other design ventures, Momento stands as a testament to the perfect fusion of style and versatility, offering a script font that is not only visually pleasing but also a timeless representation of modern elegance. Momento is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Glerosion – A Retro Cartoon Sans Serif Font Glerosion, a retro cartoon sans-serif font, exudes a playful and nostalgic charm that effortlessly transports viewers to a bygone era. With its whimsical and rounded letterforms, Glerosion captures the essence of classic cartoon aesthetics, reminiscent of beloved animated shows from the mid-20th century. The font strikes a harmonious balance between a timeless simplicity and a distinct vintage flair, making it a versatile choice for a range of creative projects that seek to evoke a sense of lightheartedness and retro appeal. Glerosion’s characters possess a delightful quirkiness, embodying the spirit of yesteryear while maintaining a modern edge that lends itself well to a variety of design applications, from branding to editorial design and beyond. Glerosion is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Based on my very first font creation, New Ayres keeps the same feel, but raised to high-quality level. Its long clean lines and soft curves merge old style and modern, giving a new meaning to timeless elegance. Perfect for titling; with at least five alternates per letter, the possibilities become endless. Choose the one better suited for your project and make your text stand out immediately! 703 glyphs take part in this font, including a large set of alternates, ligatures and swashes for you to choose from. With accents and special characters for languages, New Ayres supports 88 languages: Afrikaans, Albanian, German, Swiss German, Upper Sorbian, Asu, under Sorbian, Bemba, Bena, Norwegian Bokmal, Bosnian, Catalan, Czech, chiga, cornic, Creole Cape Verdean, Creole Mauritian, Croatian, Danish, embu, Slovak, Slovene, Spanish, Esperanto, Estonian, Euskera, Faroese, Filipino, Finnish, French, Rialan, scottish Gaelic, Galician, Greenlander, gusii, Hungarian, Indonesian, Irish, Icelandic, Italian, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kiroundi, kölsch, latvian, lithuanian, luo, luxembourgish, luyia, machame, makhuwa-meetto, makonde, malay, malagasy, maltese, manx, meru, Northern ndebele, nyankole, norwegian nynorsk, oromo, polish, portuguese, romeo, rombo, romanian, rwa, samburu, sango, sena, shena, shamble, Shona, rope, somali, swedish, swahili, taita, teso, Turkmen, vunjo, walser, zulu. This font is PUA encoded: this means each character has a unicode name, and you may access any of them through this codes. Open Type features on the open type file: easy access for alternates and ligatures! The download includes both .otf and .ttf files, so you may choose which one suits you better. With a strong personality, but yet adaptable into many styles, New Ayres is everything you are needing for your projects!!

The font "Newsletter Stencil" is based on the font family Newsletter which is to be published by die Typonauten. During the toilsome development of this font family it was a pleasure to destroy the letter forms and to create a bastard.

Moules is a mono spaced font family coming in three weights and three different forms, normal, italic and twisted. This font has more details than my first mono spaced font – Memory Square – and gives the possibility for more subtile typography.

Right Swipe is a fantastic sans serif brush font duo. The sans serif font, in the Right Swipe, is the epitome of simplicity and elegance. Designed in uppercase, it boasts clean lines and a minimalist aesthetic, making a versatile look. This sans serif typeface is all about timeless sophistication and modern appeal. In contrast to its sans serif, the brush font adds a touch of creativity and spontaneity to the duo. The brush font's characters are made in round shapes and consistent proportions, creating a harmonious appearance. Each letter is meticulously crafted with fluid strokes, evoking a sense of warmth and approachability. Together, this duo offers a harmonious balance of elegance and creativity. This combination of a simple and refined sans serif font with a warm and inviting brush font allows you to strike the perfect tone for your design projects. In addition, enjoy the features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Right Swipe fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more vintage-inspired designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

People often have trouble finding a perfect, prominent font to express the project values. You need an instantly attractive font that is able to stand out your designs for something unique and special without consuming a lot of time and costing some money. For that reason we have everything you need. Magma Cracks is a capitalized display font in a visually attractive design along with the big, round, high contrast, cracking letter designs as its unique characteristics. It is suitably applicable for any unique, different font designs to help you emphasize your messages in the graphic designs. This font’s cracking designs can express dramatic, prominent nuances and give unique textures resulting in the artistic displays. Magma Cracks provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Magma Cracks fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. 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.

Presenting Dena Font, a forward-thinking typeface that straddles the boundaries of future aesthetics and modern design. Designed for the cutting edge designer, Dena Font is more than simply a letterform—it's a design language, a representation of sophisticated elegance influenced by cyberculture, sci-fi movies, and innovative video games. Dena Font is a tool that gives designers the ability to push the frontiers of creativity and reshape the visual world. Elevate your projects with Dena Font's futuristic appeal, which combines typography with creativity. Every letterform in Dena Font has a vibrant, futuristic feel to it. The deftly drawn characters blend together to create a visual rhythm that mirrors the quick-paced, constantly-changing nature of contemporary design. Modern Futuristic style: With futuristic style, Dena Font is at the vanguard of modern design. It is the perfect option for forward-thinking design projects because every curve and shape is painstakingly created to communicate a sense of innovation and advancement. Ligature-Enhanced Creativity: Dena Font's rich ligature set enables designers to smoothly combine characters to create a flowing and melodic typographic expression. These artistically elegant ligatures provide a touch of refinement to your designs and are ideal for creating distinctive logo types and brand identities. Overcoming linguistic obstacles, Dena Font provides extensive assistance for the Latin Western Europe character set. This makes your creative vision a flexible instrument for international design projects by guaranteeing successful communication across linguistic environments.

Dynasty is an extensive and versatile family that exploration and modernisation of the typographic quirks associated with the 'American Gothic' type school (in much the same way as English Grotesque was an exploration of Gill/Johnston idea-space) and adds chamfered elements to dots and tails to emphasise and extend the early machine-made aesthetic. Elegantly clean and readable at headline and small text settings, where (as with all fonts in small sizes) the introduction of tracking will improve legibility.

My son Sam saved all his pennies for a trip to Japan with me. Hi dream came true this year and we traveled around Honshu for 10 days. One of the things on his ‘to do’ list was eating yakitori, so I took him to famous Yakitori Alley in Tokyo. The setting was legendary, the smell was great, but the yakitori, unfortuntely, was so-so.. Yakitori Alley is a fun, scribbly script font with language support and a set of contextual alternates.

Emblema is an evocative font that exudes Art Deco style from early decades of the 20th Century. Its geometric shapes give a clean and modern look to any design where it is applied. Emblema was designed in 12 subtly different weights and is ideal for achieving the same weight in a single word when using different point sizes. Open Type users can access an extensive set of alternative and ornamental characters including 3 different size sets of caps, providing the utmost in versatility.

Winterberry (Ilex verticillata) is a species of holly, native to the USA and Canada. I thought it was a rather cool name (pun intended) for a messy script font made during a cold spell. Winterberry was created using Chinese ink and a crappy brush - hence its messy appearance. Use Winterberry on your alt-Christmas invitations, your fantasy novels, your rock albums or your website! You’ll love it! Comes with a bunch of diacritics and some ripe double letter ligatures as well.

Bohemio was designed in memory of Gunter Böhmer, an artist famous for his many book covers of the 1950s in Germany. The cover I took as an inspiration for this font is that of a book called Stiller (by Max Frisch). Bohemio sounds similar to "Böhmer" (which means the one from Bohemia) and it is also an alliteration to artisty. I thought "Bohemio" to be a nice name for this very strong, almost expressionist design. Yours very artsy craftsy Gert Wiescher

Karolina is a calligraphic serif font. It is inspired by Edward Johnstons (1872–1944) calligraphy and the foundational hand (which was based on the carolingian letters and therefore the name Karolina). The Uppercase letters are based on the perfect proportioned roman capitals. Karolina is a classic and clean typeface with smooth shapes that will give an elegant touch to your projects. It is suitable for formal use and works well both for headlines and as body text in smaller sizes.

The Amole font style comes with great character. Ideal for invitations, name tags, handwritten quotes, product packaging, merchandise, social media and greeting cards. It contains a complete set of lowercase and uppercase letters, a wide variety of punctuation marks, numbers, and supports multi-language. This package is fully accessible to craftsmen or designers. Amole also provides several binding and style alternatives for lowercase characters, accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType panel.