Thick is the perfect font for all your fun designs and also for Halloween decorations. The main font file is equipped with ordinary characters, as well as more than 350 glyphs to support most Latin-based languages. Everything is made with the same brush, and everything is the same size as Thick, so you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs. Thick feature: - More than 350+ glyphs - Fully coded PUA for full access to all characters - 19 languages ​​support

Skate is a multifunctional font family of a script in five weights and a bold complementary sans. It is a versatile combination that works best in large sizes - think billboards, posters, magazine and website headlines, as well as packaging. The Skate family is edgy and packs quite a punch which also makes it suitable for branding projects that rely heavily on type. Both the script and the sans have Latin Extended and Cyrillic support, while the script also comes with a variety of ligatures and stylistic sets for even more design freedom. The Skate family was inspired by urban culture, so it is a great fit for projects that cater to a bold and youthful audience.

A multilingual type family that features a modern Arabic Naskh with very short descenders and ascenders, which matches with a full-caps Latin counterpart. Molsaq is perfect for setting applications that require tight leading, such as posters, hence the name, which means poster in Arabic. With 1050 glyphs, Molsaq Pro supports Arabic, Farsi, Urdu, and Kurdish, it also supports more than 60 languages that use the Latin script. Molsaq Pro comes with many Opentype features such as, stylistic alternates, ligatures, swashes, and small caps. Molsaq Latin includes all the Opentype features and the full languages support, except for the Arabic script. While Molsaq Arabic doesn't include Opentype features, and only support the Arabic script.

Modérnica is a sans serif type including roman & oblique styles in 9 weights. Originally published in 2014, then in 2020 we released version 2.0, in which we expanded the language coverage and character set, adding a new Fat weight, tabular figures, smart fractions & arrows. We’ve improved the OpenType features adding new Stylistic Sets. Besides this, we have retuned the letters spacing in the whole family. Seeking for the best performance, we added a bit of spacing between letters in the text versions (middle weights from Book to Bold), while as for the display variants (extreme weights from Thin to Fat) we made them gain space in the light versions and loose it in the blacks.

Holystain is a Foundation display font that strikes the perfect balance between sophistication and approachability. Its classic charm makes it perfect for more traditional designs, while its casual feel makes it good for modern design. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

You've searched for "Egyptian" but, thanks to a quirk of type jargon history, much of what you found is not what you had in mind for the voice of Thoth in your comic book, or the hints in your Mummy's Tomb game. And you don't want to fall back on You-Know-What. Fear not; now there's Walklike! Pyramids, reeds, the Eye of Horus, and other recognizable symbols inspire the letterforms of Walklike to create the feel of Ancient Egyptian hieroglyphs while remaining fully legible. The strokes are casual but careful, at home in ink or stone alike, and kept interesting and natural-looking automatically with ligatures and some contextual alternates. The air of ancient mystery is unmistakable!

Ciao! This is Maestri — a connected script family of eight weights, from thin to heavy. Maestri is initially a sans serif made into a script, hence the design that's strict, clean and sharp. The formal approach gives it a touch of cool elegance — yet Maestri is full of expression and character. This is evident in the wide array of Open Type features which will open up innumerable solutions for unique typography with a hand-written feel.  For lowercase letters, available are Ending Alternates, Standard Ligatures and Contextual Alternates. Uppercase can be used to write in caps and there are also Swash alternates that have script-like character forms for every uppercase letter.

Polish type designer Lukasz Dziedzic created this serif FontFont in 2010. The family has 30 weights, ranging from Light to Black in Condensed, Normal and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries as well as small text. FF More provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system. In 2011, FF More received the CommArts award.

Introducing Berringer A Vintage Type Family Berringer is a vintage sans serif family including Textured, Rough & Clean versions as well as Oblique versions of each. Click on the "View All Glyphs Below" image to see every glyph included in each font file. Berringer includes western european characters. Berringer is a versatile sans serif typeface that gives a vintage aesthetic. With it's unique & distinct characteristics it sets itself apart, while also maintaining a strong timeless appeal overall. Rough & Textured versions allow Berringer to be a complete set without the need for 3rd party effects to create a printed look, eliminating a step in the process of finalising your piece. Thank you for checking this out! Jeremy

Pure Malone is an stylish serif font with a elegant and modern look. Its stylish and sophisticated design adds a touch of refinement to any project, while the italic version brings a subtle yet captivating twist. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Maria Martina Schmitt was born in Vienna, Austria in 1950. Since 1998, she has been working as a freelance designer, focusing on cultural collateral, economic publications, illustration, type design, and logo design. Airam blends contemporary legibility with historic blackletter forms, creating a contemporary text face that speaks to the old European past. Airam certainly appears darker than most other contemporary text faces. Airam’s letterforms are slightly broken, too. They display angled joints in lieu of smooth curves. This “broken” aspect actually aids legibility at smaller point sizes. While Airam may not be suitable for setting whole books or newspapers, this font will add a splendid touch to short tracts of small text. Additionally, Airam looks superb in large headlines.

Toiban is a classy modern sans serif font. Each Toiban glyph has been modernly drawn and designed for this expansive new edition, which maintains the Swiss mantra of clarity, simplicity and neutrality for the demands of contemporary design and branding. The larger View version is drawn to show off Toiban's subtlety and is spaced with the headline in mind, while the Text size focuses on readability, using strong strokes and comfortable loose spaces. The Toiban struggles to be legible at a small size because of its compactness and closed aperture. The Toiban Micro's design is simplified and exaggerated to maintain impression in small, loosely spaced type, providing excellent legibility at microscopic sizes and in low-resolution environments.

Kondes is our "101 Dalmatians" – it's 101th release in our catalog! And it is the 1st one that belongs to variable typefaces. Kondes (which is made up word as mixture of "condensed" and "kondezovan" on Serbian) is simple, compact, straight-in-your-face sans serif family with 9 weights and 9 Italics. It was designed with purpose to serve and to be use in any project, from editorial to website. For example, Black weight could be used effectively as poster type, in big sizes while Regular fits perfectly as main webfont. Stem joining is done with generous ink trap that divides and opens letter contours, so letter breaths in smaller sizes. Contains extended Latin character set. Enjoy!

German type designer Yanone created this serif FontFont in 2010. The family has 8 weights, ranging from Regular to Extra Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Amman Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Sans.

A multilingual type family that features a modern Arabic Naskh with very short descenders and ascenders, which matches with a full-caps Latin counterpart. Molsaq is perfect for setting applications that require tight leading, such as posters, hence the name, which means poster in Arabic. With 1050 glyphs, Molsaq Pro supports Arabic, Farsi, Urdu, and Kurdish, it also supports more than 60 languages that use the Latin script. Molsaq Pro comes with many Opentype features such as, stylistic alternates, ligatures, swashes, and small caps. Molsaq Latin includes all the Opentype features and the full languages support, except for the Arabic script. While Molsaq Arabic doesn't include Opentype features, and only support the Arabic script.

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

Colonial Press is a font based on serif typefaces designed by William Caslon I (1692-1766) and various revivals thereof. Caslon is cited to be the first original typeface of English origin, but some type historians point out the close similarity of Caslon's design to the Dutch Fell types, presumed to be the work of Dutch punchcutter Dirck Voskens. Colonial Press harkens to the look and feel of newspapers in Colonial North America around the mid 1700s without the rough edges commonly associated with colonial printing and many reconstructions. The rough quality of the American typeface is believed to be the result of oxidation from the exposure to seawater during the long voyage from England to the Americas. Colonial Press is a heavy font that retains some of the handcut quality of these fonts while smoothing out the irregularities that make many of these fonts so visually distracting at larger point sizes. For the italic version of this font, I chose to emulate the more ornate letterforms that I have encountered, giving the italic characters a more ornamental feel. Colonial Press comes with full punctuation and a 362 glyph character set for most Western European-based Latin alphabet languages. It is a font that is designed both for normal typing and for larger, decorative display.

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

Art Gothic was attributed to the Central Type Foundry of St. Louis, Missouri, USA by Henry Lewis Bullen, writing in INLAND PRINTER in 1907, with a reproduction shown in Kelly’s American Wood Type. The typeface appears on the cover of an issue of “The Superior Printer” pictured in Typology by Heller and Fili dated in the 1870s. Art Gothic was designed in 1884 by Gustav Schroeder and proved to be one of the more popular and enduring of the American-designed Victorian display faces of the period, appearing frequently in ads in various publications. The Hamilton Mfg. Co showed a very similar wood type, No. 232, with a modified and rather heavy-handed upper case in 1892. As late as 1897, it may be found in the advertising section of The Ivy of Trinity College of Hartford, Connecticut and was included in the Norwood Press 1902 Specimen Book. Our font includes a complement of five upper case and four lower case alternatives as follows: 123=C, 125=E, 135=H, 137=S, 172=c, 175=e, 215=m and 247=s. Great for period pieces. ART GOTHIC HIH is clean, readable, and surprisingly modern-looking; unlike so many overly complex Victorian display fonts, it can be used in text sizes.

Rock Face was inspired by a crude but effective home made sign I came across advertising a garage sale. The lettering was created using sticky black insulation tape which, like a child's drawing, had a certain naive charm. The type design presented here is obviously more considered, but I like to think it has the same raw dynamism.

Neue Metana is a modern minimalist design typeface with geometric type and more feature alternative character. there include some ligature. It is inspired by hype and urban design - a font suited for lifestyle with trend design. It was designed to be versatile, to blend in your design with light through bold weights add touch a lot of personality.

Building a modular digital typeface is like playing with the pieces of a Lego. Possible combinations are induced by the shapes of the pieces. All designers must have tried something like this once. Bitmap is a simple unpretentious font. It is the first pixel font made by the Brazilian typeface designer Buggy in 2001.

The Chickenz dingbat font is a series of symbols based inspired by the wild west, from cowboy silhouettes and playing cards to a series of office shapes that can be used in any corporate layout. These designs were conceived as part of the Jackazz family but can also be mixed with any other typefaces.

Fong Shay Noon JNL is a non-traditional approach to an Oriental-styled font as there are some letter forms with curves and others with straight lines. The name derives from a Chinese restaurant in North Miami Beach, Florida during the 1960s, which in turn took its name from a play on a Yiddish phrase.

The Sports Headline font family was developed from design work creating captivating sports related typography for branding and logotype. The font characters are all capitalized and the two different font weight offer a variation that allows each weight to play off the other and work together well. Each font contains all Latin simple characters.

Salud is hand-drawn typeface based on light and bold slab serif. It has 8 font styles and supports extended latin. It may be used in presentation for a big company or in flyers for a birthday party. Other words it plays at both sides: can be formal and at the same time funny.

On the cover of the 1932 sheet music for "Without Your Love", the credits for the stage play "The Dubarry" are listed under the name of the star and the play's title. These hand lettered credits served as the work model for Stage Direction JNL, which is available in both regular and oblique versions.

Here is another attempt to create a font for invitation work unlike any already out in the world. In casting about for a name, I decided to call it Valerie after Valerie Hope, a mindreader of days long gone, who played California theatres in the 1930s and 1940s. And who, incidentally, was my mother.

Hasta Luego means ‘see you later’ in Spanish. It is something you say when parting, but it doesn’t really mean you’ll have to see each other again. Hasta Luego is a happy, all caps font. It’s a bit random, a bit wobbly and it comes with some interesting discretionary ligatures for you to play with.

Mama Bear is a playful, neat, children's book typeface. It is cute and happy, very legible and comes with extensive language support, including the 'schwa' glyph found in a handful of languages. Mama Bear was inspired by my 16 month old son, who loves his fluffy bear and likes to play hide and seek.

Buttoneer is a specialist symbol font for representing media controls such as play, stop, fast forward, and so on as well as other icons useful in developing multimedia or interactive applications. Also useful in printed materials for representing these items - for example software or hardware manuals. Layout optimised for use with codepage utilities e.g: CharMap.

Introducing Lupina, where modern simplicity meets timeless sophistication. This sleek sans-serif grotesque font effortlessly enhances your projects with a clean, contemporary vibe. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

introducing Krusty Craft - condensed handwritten font - What's included? - Uppercase - Lowercase - Numeral and Punctuations - Ligatures - Multilingual Support - PUA Encoded This font is great for branding, packaging, quotes, logo, and anything your craft project the combination of uppercase and lowercase is great, unique, and very fun. let's play with this awesome font! thank you Abo Daniel Studio

Alphabet primarily used for writings with magical purpose in ancient times NOTE: this font comes with a comprehensive interpretation guide in pdf format.

Rara is simple handwritten font. Recommended to use for children theme, funny theme, comics, cartoon, simple write, poster and display and many more.

Introducing Alfaheim, a sans serif font desinged to harmonize simplicity with contemporary sophistication. Giving it a unique and warm character while maintaining refinement.

This cute, neat handwriting font is perfect for a variety of uses. The font features genuine handwritten flair while still maintaining complete readability.