Introducing, Qidango is a serif typeface created with elegance and luxury, exuding femininity and glamour, but also a side of beauty with many alternatives to help you create endless variations for your creative needs. Featuring an italic style with striking contrasts and subtle details, as well as luxurious strokes and voluptuous curves, it creates a beautiful and powerful statement for any typographic composition, combining glamor with a contemporary aesthetic.

Graffick is a mechanical style created by merging a little traditional type design & typography with a little basic graffiti lettering theory. Extra ascenders and descenders have been added to many of the capital letters to add a more varied & specialized appearance. This layered type system provides for the easy creation of outline/fill effects with regular, italic, wide and outline styles as well as baseline & caps-height alignment options.

Artigo Display is the odd sister of Artigo text typeface. It is a contemporary interpretation of handwriting shapes in a display version of the italic. It is more expressive and it has its own personality. It was renovated with five new weights that bring more flexibility to use the typeface in different mediums. Artigo Display has won a Certificate of Typographic Excellence from the Type Directors Typeface Competition in January 2018.

The typeface of Betm Rounded is based on the successful Betm font family by font foundry Typesketchbook. Font designer Chatnarong Jingsuphatada created Betm as a Rounded version to Betm. Both type families consist of ten weights plus with italic versions. Betm’s typeface has a friendly and modern sans serif appearance. This modern geometric font is very legible and can be used for headlines as well as small and long text.

Quebra Expa (Expanded) is an extend display sans-serif font family, available with four widths (Extra Condensed, Condensed, Normal and Expanded) and ten weights, italics versions are available. The main strokes contain small breaks simulating modulated variations on the letterforms, these details are more present on large body sizes. All font versions contain Latin and Cyrillic encoding characters and also ligatures, case-sensitive forms, fractions, oldstyle and finally tabular figures.

Rosengarten is a condensed, bold typeface inspired by the work of Lucien Bernhard and the Plakatstil mouvement. With bold, rounded serifs, this typeface was created for use in headlines and larger point sizes. A complimentary sans serif style was integrated as a secondary weight with accompanying italics to allow a combination of styles to be set in layouts. This typeface includes an extended Latin and Cyrillic language support.

The result of reducing elements of letterforms to only its necessity in lowercase is mostly influenced by the ideal of Aerodynamics. The true intention behind the design of Cobe is to construct a fluid typeface while maintaining a strong structure of uppercase that possessed distict forms, shapes and corners, resulting in an eye-pleasing texture when forming a sentence. Cobe comes in 9 consecutive weights with italics and standard features.

Akueila is a Luxury font that we created special for elegant, elegant, modern, wedding, branding needs, font that you can combine to get any variations and unique shapes easily just in seconds with choose alternates of them. What's Included: Character set A-Z Normal & Italic Style Numerals & Punctuation Accented Characters (West Europe) Stylistic Ligatures Works on PC & Mac Recommended using Adobe Illustrator or Adobe Photoshop. Wish you enjoy our font. :)

Nauka Serif is a an elegant and smooth combine typeface regular and italic serif font. He has a beautiful character. It fits perfectly with invitation card designs, company logos, movie titles, movie names, business cards, book titles, brand names and various other designs. Nauka Serif is a subtle serif font that exudes sophistication and elegance. Its stylish alternations and ligatures make this font the perfect partner for any project.

Cubest is a geometric sans-serif typeface. Created by Mans Greback in 2021, this futuristic font has a square, monolined appearance with a retro-digital style. The family consists of eight styles: In addition to Light, Medium and Bold, it is also provided as Cubest Monospace and Cubest Variable, plus each weight as Italic. The font supports all European Latin-based languages and contains all symbols, characters, punctuation and numbers.

Magr is a modern and powerful sans font designed to elevate your sports team and athletic designs. With its sleek and dynamic appeal, Magr brings a professional touch to your projects, leaving a lasting impression. Unlock your creativity with Magr's six styles and twelve fonts, including both upright and italic options. Stand out from the crowd and make a bold statement with this versatile font that complements your sports-themed materials.

Filora Serif is a an elegant and smooth combine typeface regular and italic serif font. He has a beautiful character. It fits perfectly with invitation card designs, company logos, movie titles, movie names, business cards, book titles, brand names and various other designs. Filora Serif is a subtle serif font that exudes sophistication and elegance. Its stylish alternations and ligatures make this font the perfect partner for any project.

Edicia is modern serif family with 5 weights and matching Italics. Distinctive and recognizable, Edicia stands out clearly with charming details. Characterized by asymmetric serifs, Edicia is designed with special care for ink-traps. Contains extended Latin and Cyrillic character set equipped with left & right side Borders, Localised Forms, Denominator & Numerator, OldStyle Figures, Tabular Figures, Tabular OldStyle Figures, Superscript, Subscript, Stylistic Alternates. Thin weight is available for free.

TinmanPro is a mildly stressed humanist sans serif type based on the University of California Oldstyle type designed by Frederick Goudy. The design captures the warmth and friendly character of Goudy�s original in a monotone sans. Broad Latin support along with small caps, fraction support and other typographic niceties are included in the ten font family. Weight range includes Regular, Medium, DemiBold, Bold and ExtraBold with matching italics for each.

Superpop is sweet and gentle, a rounded geometric sans with a brushy script twist. Soft and refreshing like a soda, this font gets fizzy when geometric letterforms get mixed with script shapes you wouldn’t expect in a Sans Serif. A display family with two styles ( regular and italic ), 5 weights and an outline version for each style. Opentype Features: https://www.rsztype.com/article/how-to-use-opentype-features-adobe-microsoft-pages

Cuanky is a super fun, retro-style sans serif font with subtle serifs. It possesses a recognizable flair and evokes a sense of warm nostalgia. Available in both regular and italic styles, Cuanky also features a playful hint of the future. Cuanky is perfect for headlines or food-related designs, such as pizza, burgers, and restaurant themes. Additionally, it's well-suited for creating eye-catching posters with a cool aesthetic.

Metroland inspired by urban and modern life on a metropolis city. Metroland have a Subway vibe and a transportation theme that relate to our routine. Metroland is simple and modern sans serif display family font. it has a monoline geometric, and simple atmosphere. Metroland came with 9 weight and 9 italic fonts. It can easily be matched to an incredibly large set of projects, and good for communicating your brands.

Brother is a High-Contrast font that we created special for elegant, luxury, modern, wedding, branding needs, font that you can combine to get any variations and unique shapes easily just in seconds with choose alternates of them. What's Included: Character set A-Z Normal & Italic Style Numerals & Punctuation Accented Characters (West Europe) Stylistic Ligatures Works on PC & Mac Recommended using Adobe Illustrator or Adobe Photoshop. Wish you enjoy our font. :)

Type designer Xavier Dupré’s Garalda is a charming 21st century family that renews a legacy of finesse. As paragraphs on a page, Garalda’s overall impression is of a workaday personality, committed to the main purpose of the job: easy long-form reading. But setting it in display sizes proves something different: This reinvented Garamond is anything but basic. The Garalda story begins with the serendipitous finding of a book typeset in a rare Garalde, called Tory-Garamond, with which Dupré was not immediately familiar. This Garamond was used in bibliophile books in the decades surrounding 1920, but after that it became déclassé for an unknown reason. Dupré found the italic styles especially charming and discovered the family was probably the mythical Ollière Garamond cut from 1914. He obtained low resolution scans of the typeface and used them, rather than high resolution scans, as the basis for his new type family. This allowed Dupré the mental freedom to experiment and remix as he saw fit, culminating in a contemporary family with heritage. As seen in the simplistic rectangular serifs, Garalda is a humanist slab serif, but with a mix of angles and curves to give the classic shapes a fresh, unorthodox feeling. While almost invisible in paragraph text, these produce a graphic effect in display work. The set of ligatures in the roman and italics lend themselves to unique display use, such as creating lovely logotypes. In the italics, some swashes inspired by different historic Garamonds are included, sometimes breaking their curves to be more captivating. Just look at how the italic ‘*-s’ ligatures create ‘s’ with a cursive formation rather than merely a flowing slant. And how the roman ‘g’ link swings as wide as a trainer’s whip. These are all balanced by squared serifs in the roman to keep an overall mechanised regularity. The Garalda family comes in eight styles, includes some of the original arrows and ornaments, and speaks multiple languages for all typesetting needs, from pamphlets to fine book printing. The complete Garalda family, along with our entire catalogue, has been optimised for today’s varied screen uses.

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

The shapes of the f-holes on a violin reminded German designer André Maaßen of an italic letter "f". Maaßen used these captivating contours as the theme for his type family, Varius. The name "Varius" is an homage to the manufacturer of the violin that inspired Maaßen's project, Antonio Stradivarius, the most famous manufacturer of violins in music history. Varius has three separate styles. Varius 1 and its italic are the base style of the family, and are typefaces in the baroque serif manner. Varius 2 and its italic are slab serif egyptiennes, slightly heavier than Varius 1's more classical forms. Varius 3 and its italic are semi serif faces; their characters are serifed, but some of the serifs have been cut off. The family is rounded out with two pi faces: an ornaments font (which can be used in conjunction with the text fonts, or on its own to create beautiful borders or individual decorative elements), and a font of musical symbols and notations. Each of the six text fonts has dozens of supplemental ligatures included in their character sets. When these fonts are used in an OpenType-supporting application, such as Adobe InDesign, these ligatures automatically appear in text when the "Discretionary Ligatures" feature is activated. Additionally, the character sets include added alternate glyphs, such as a swash "m" or "n" to finish off a line of text. These can be inserted manually in applications that include glyph palettes (e.g., Adobe InDesign or Illustrator CS). All of the Varius family's letterforms appear slightly narrow, and traces of the wide-nibbed pen can be seen within their forms. Additionally, the shape of a violin's f-hole is a reminiscent element within all of the family's curves. Varius is particularly suited for use many applications, such as body text, newspaper text, display text, headlines, posters, books, screen design, and corporate identity. Use in sizes ranging from body copy text to display and poster format allow the different facets of the typeface to effectively present themselves. The effects can be as versatile as the possibilities! Due to its special character, the typeface could be used in the design of a logo, or within an appropriate corporate design context, to particularly stress individuality.

Anna Gagarin is the loving matriarch of the Gagarin Family. Her life was full of love and passion. She had several affairs with Futurist and Contstructivist artist in the beginning of the 20th century. She was in love with the Russian poet Vladimir Majakovski (born on July 19th, 1893 and died in Moscow on the April 14th, 1930). She gave birth to his son Boris. She called him 'a cloud with trousers'. After this love story, Anna Gagarin met the designer and artist Gustav Klucis in Italy. His radical and political ideas were much too childish for her. After a period of love and passion Anna gave birth to his son. At that time they were in Italy, which explains his italic forms. After her return to Moscow in the beginning of the 1920's Anna was introduced by Alexander Rodchenko. They were heavenly in love but Ilja Stepanova was very jealous on her husband. Anna once said that 'Alexander fills mine construction with love...' That phrase can be an explanation for the term Constructuvism as an art movement. Alexander was the great love of Anna. She gave birth to their love-baby Dimitri Gagarin. That night Alexander designed his most famous poster. A decade before that Anna told it was
'a time for a change'. In a local bar in Sint Petersburg she met Gregory Rasputin. At that time Rasputin was a well known person and a respected member of the Sint Petersburg upper class.His diabolic character influenced Anna and after several months she gave birth to their son Kurt. He inherited the main characteristics of his father. The Gagarin Family wants to give love and wants be loved...

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

The fundamental in creating this typeface is the implementation of our interest in typography over the past year. Inspired by the elegance, consistency, and hard work of Times New Roman pull up our minds to a daunting blank canvas and began to think about what we had to do to take this idea even further. Whatever comes to our mind and when it is poured out, it will certainly remain within the rules of the letterforms. This typeface is created by a careful approach, consisting of 28 fonts 13 weights with matching true italics forms. Feature an extended charset of over 1800 glyphs, covering 219 languages using Latin, Cyrillic (basic to extended), and Greek alphabets. Included advanced open type features like stylistic alternates, terminal form, swash, discretionary ligatures, ordinals, small caps, positional numbers, fractions, and case-sensitive forms. BD Megalona provides a range of choices that will give luxury vibes in symmetrical layouts with selective deviations, and work well in a stylish look for your typographic project. This is a complete package of problem solvers perfectly suited for body text and high-impact headlines. Advance open-type features definitely stunning on logos, branding, magazines, website, etc. BD Megalona is our ego in expression that aims to supply the necessity of design nowadays while still in the corridors of the glory of past traditions as a source of our inspiration. We would like to show you a SHORT FILM about the process of designing BD Megalona Font Family, Click Here!!!

Arabetics Harfi is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. Careful spacing and kerning was used to enhance resulting text legibility both scripts. Arabetics Harfi fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi type style with connected glyphs, but it emphasizes a horizontal look and feel rather than verticalone, utilizing slightly varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Harfi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Arabetics Harfi includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. It includes two weights, regular and bold, each of which has normal, right slanted Italic, and left-slanted styles.

Astral Night - A Blackletter Typeface is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Astral Night with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more)

Candlebright is a gothic calligraphy font with 345 glyphs, including stylistic alternates, swashes, ligatures, and a set of matching ornaments. Candlebright's smooth lines and round corners make it warmer than the average blackletter font, and it can be used for both vintage-inspired and modern designs. Candlebright works particularly well in logotype designs, or as a display font in editorial or website designs. The set of matching ornaments is perfect to add a touch of elegance to any design, and you can use it to achieve eye-catching social media and promotional designs.

Stinky Slime - Dripping Halloween Font is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Stinky Slime with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more)

Vamps Crime - Halloween Display Font is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Vamps Crime with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more)

San Marco is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. San Marco was designed by Karlgeorg Hoefer and brings to mind the style of the Italian Gothic found on the cathedrals of Milan and Florence as well as on the facade of St. Mark’s Cathedral in Venice. Its highly stylized characters make San Marco a good choice for extravagant typography.

Introducing Bartley, a striking blackletter font that merges tradition with a modern edge. This exquisite typeface is meticulously crafted to bring a touch of Gothic elegance to your designs. An Original typeface that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Modern Sweet Retro that contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Wild Inferno - Blackletter Display Font is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Wild Inferno with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more)

A cast iron plaque from Bristol Temple Meads Station serves as inspiration for this antique font. The plaque commemorates the design contribution of Isambard Kingdom Brunel, who in March 1833 at only 27 was appointed chief engineer of the Great Western Railway, the line that links London to Bristol. This helped establish Brunel as one of the world’s leading engineers. Impressive achievements along the route include viaducts at Hanwell and Chippenham, Maidenhead Bridge, Box Tunnel and Bristol Temple Meads Station. Ironbridge evokes industrial heritage, gothic spookiness or eroded heavy metal.

Dacttelyons is a blackletter typeface inspired by gothic era, and this typeface perfect for people looking for vintage with dark feel. Dacttelyons suitable for any graphic designs such as branding materials, t-shirt, print, logo, poster, packaging .etc ADDITIONAL INFORMATION For upgrading license please contact me. Upgraded licenses are required for apps, books, television, commercial exhibition, film, gaming, print on demand products, etc. simply email me to : hastohst@gmail.com We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Cheers 🍻

Usually, the condensed version of a face comes after the regular design. Not with gogo squat. After gogo big, I thought how strong a regular version would be. A nice clean gutsy face. A "today" Franklin Gothic Extra Bold. I find it ideal for contemporary headlines as well as for logo solutions. As with gogo big, in my terms and conditions, I permit the modification of up to ten of the letter forms for logos and monograms, but logos and monograms only, not the typeface in normal usage.

Looking for a way to make your brand look dark, mysterious, and even gothic? look no further, HAYEN Blackletter! This font is perfect for creating labels, retro designs, stamping, badges, and packaging. Use it for your next retro Oktoberfest poster or for your next tattoo. It’s also a great choice for a barber shop or whiskey brand. Plus, it’s available in a variety of different styles and weights, so you can find the perfect one for your needs. So why wait? Add this Blackletter font to your next project today!