Estimo is an unusual, yet elegant type family of three styles in five weights. Originally developed as upper-case-only family, Estimo was inspired by the works of Bulgarian type and graphic designers in 1980’s. It is characterized by its lack of diagonal strokes (wherever possible), thus experimenting with letterforms without losing legibility. This unique typeface is suitable for all kinds of creative and editorial works, creating impact for headlines of all sizes, as well as readability for text blocks.

VVDS Benigne Sans is geometric font family consisting of 8 weights ranging from Thin to Ultra Bold with matching italics. Balanced and gently Thin or fat and heavy Ultra Bold, good wide range of widths, which allow use this font not only as a Headers, also as sub-headers or block texts. Also, I love how it looks in infographics. VVDS Benigne Sans is latin-based multilingual and contains all mathematics symbols. OpenTypeFeatures Ligatures, alternates, old style numerals and fractions. Enjoy! VVDS

Inspired and after 20th century’s travel posters, Vintage Travel is a font duo with a monoline Script that has small x-height and a bulky vernacular Sans designed to play together. Script is equipped with several OpenType features such as Swash and Titling alternates as well as Small Caps for small capital letters. Sans comes with Stylistic Alternates that provides you with a selection of lowered accented characters that can be used to create more uniform text blocks and tighter leading.

Braxton - brush flavored script font family includes 5 unique font weights. The font family is characterized by excellent legibility in both - web & print design areas, well-finished calligraphic designs, optimized kerning etc. Braxton is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. The font styles are applicable for any type of graphic design – web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos.

Dikta Neue is a neo-grotesque sans serif typeface inspired by Swiss Design in The 1960s. With a solid and minimalist letterform make this typeface suitable for text and display. Dikta Neue is available in 18 different styles from thin to black including italics.

Tubby came about when I made a book with Cooper Black as a headline font. I started playing with heavy forms, and as a result was Tubby. It has a fat and friendly feel, and with swash italics it is fairly versatile in use.

A package for a swim mask and snorkel was the basis for this decidedly unusual typeface with a wild 1970s-era design. There's no telling how to apply this font to a project, but think black light posters, psychedelic music and some cheap wine!

The Kaffeesatz EF typeface was designed in 1993 by Ralf Borowiak in three weights: “Schwarz”, “Weiß” and „Süß“ (“Black“, “White” and “Sweet”). Since it is experiencing ever increasing popularity, the Elsner+Flake Designstudios augmented the “Schwarz“ and “Weiß“ versions with a complement of Cyrillic characters.

The two Kwodsity fonts are derived from Kwersity, a narrow, blocky typeface with slab serifs and a high x-height. In Kwodsity Up the bottom edges and bottom serifs have been thickened, while in Kwodsity Down the top edges and serifs have been thickened.

Grota Rounded is a very expressive font, has a gestural character inspired by the hand lettering . Grota Rounded is grotesque, unicase and exceptional. It has six weights ranging from thin to black with their italics. It is ideal for logos, brands, magazines, headlines, books. etc.

Spleach is a splendid mix of comic text, grafitti and unicase letters - as always, the pizzadude way! The letters are heavy and black, but still light enough to funk up your text! You will need to use OpenType supporting applications to use the autoligatures

Cantebriggia 1207 is Greater Albion’s Christmas Black Letter typeface for 2017. It’s a weathered calligraphic ‘English’ perpendicular. There isn’t a specific significance to the year 1207 - it’s just a reversal of the current year, 2017. Why not try Cantebriggia 1207 in your seasonal design projects?

Bartleby is a hand-drawn all caps display font. It has over 300 glyphs and several variations on the standard alphabet with all those €xtra pesk¥ foreign characters too. It is available in 3 weights regular, bold, black and as a family of all three.

Alan Birch created the LCD font in 1981. Its name is an abbreviation of the words Liquid Crystal Display," the display technology used in digital watches and clocks the world over. LCD is a great choice when a futuristic, high-tech look is desired.

Simply Conception is a unique and modern family of serif fonts. Simply Conception has 18 families Regular and italic font, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites, etc.*

In the October 31, 1920 edition of Wid's Daily (the predecessor to The Film Daily), a block of ad copy from a 1920 film called "Down Home" had the text printed in such a fluent pen-lettered style that a bit of a shortcut was used at the beginning of the design process for this typeface. Normally, font inspirations are redrawn [and not by simply using auto-trace] except under specialized circumstances like this one where that feature is a help, rather than a replacement for the creative process. The entire block of text copy was auto-traced, then the necessary letters were selected from the available wording and cleaned up to remove any sharp points and irregular curves in an effort to make the end results as close to the original and unusual hand-drawn text. From there the missing characters needed to produce a finished type font were created utilizing the standard methods of drawing and font construction. The end results turned out very well. Using the film's title as its namesake, this design is now available digitally as Down Home JNL in both regular and oblique versions.

Hey there, check out Altarossa! It's a font that blends classic elegance with the bright plasticity of nature. This natural fusion gives Altarossa a captivating charm that's both tough and tender, young and chic. The rounded corners and curvy lines of Altarossa will remind you of the fresh and light vibes of nature, perfect for designs that need a touch of natural beauty. This font is well-balanced both for headings and typography and for typing large text blocks. In addition to its captivating charm, Altarossa is the perfect font for a variety of businesses and activities. If you're in the fashion game, Altarossa's stylish yet natural vibe will elevate your brand to the next level. For sports and fitness brands, Altarossa's strong and flexible nature will perfectly represent your message. And for weddings, luxury brands, commerce, hobbies, and more, Altarossa brings a touch of elegance and sophistication that'll make your designs pop. This font is well-balanced both for headings and typography and for typing large text blocks. With its versatile and adaptable nature, Altarossa works with pretty much any project you throw its way. Don't sleep on Altarossa, it's a font that's too awesome to pass up!

Being a geometric sanserif ocr-t comes in eleven weights from ultrawhite to infrablack (brightwhite, white, silver, lightgrey, grey, darkgrey, anthracite, black, jetblack). With more than 600 glyphs it covers all your typographic needs and manages to stay at the same place no matter which width you’re using. Its readability and legibility is more than fine although it needs no kerning. The infrablack is really black, in order to achieve this, the form of letters change from darkgrey to anthracite from upright to some kind of upright italic. This also gives opportunity to mix two weights with same colour but different architecture. Find also stylistic sets, alternate letters, lots of bullets, different arrows, hands and well: kind of hearts.

The vintage sheet music for "Between the Devil and the Deep Blue Sea" yielded another bit of Art Deco-era lettering perfect for developing into a digital font. This time it wasn't the song title, but rather the name of the show it was from serving as the type inspiration - the Cotton Club's 1931 revue "Rhythm-Mania". Harlem's Cotton Club was an "exclusive, whites only" club; both famous for its talent and shows, yet infamous for hiring black acts but not allowing black patronage. On the sheet music, the show title was hand lettered in a bold, slightly stylized fashion which became the basis for Rhythmic Revue JNL; available in both regular and oblique versions.

This typeface design was influenced by the British Rail corporate type introduced in an old lettering instruction book published in Japan. Of course, the only clue to this typeface is the lettering instruction book at hand. Therefore, this typeface is based on the British Rail corporate type introduced in an old lettering instruction book published in Japan, and I have expanded the design variations. I started with the Bold design first. Then I designed Light, Regular, and Black in that order. Light and Regular are intended to be used as the text type, while Bold and Black are intended to be used as the base for logotypes, headlines, and other eye-catchers.

Introducing - ED Laurentsa is a classic serif font family consisting of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Semibold, Bold, ExtraBold, and Black). Try DEMO Version : https://emyselfdesign.gumroad.com/l/pgtit ED Laurentsa has a classic minimalist look with a condensed style and has a wide variety from thin to black to suit your needs. This font is perfect for your design needs, such as logo design, branding, apparel, headings, web, etc. This font can also be easily combined with other fonts to create the perfect typography. Bold fonts are perfect for displays such as logos, or in-text headings. while the font with a thin style is suitable for covers, posters, or social media posts.

The typeface family Triump is a simple sans serif with 6 weights from Thin, ideal for use as an epigraph, to Black for head titles of special impact. Excellent for applying in graphic design as logos, trademarks, posters, editorial and web design. Inspired by the classic types of the late twentieth century with rounded corners that give the typography a smooth appearance with rounded ends, with a horizontal stroke that exceeds the vertical in the letters A, E, F, H, J and K which gives a distinct personality. Triump comes with a Black weight in normal and italic Line both upper and lowercase letters, especially to give a vintage look to the designs.

Singolare is a contemporary geometric Sans Serif with angular terminals and a great x height. Its main feature is the style difference between the lighter and heavier weights. The more weight it gains, the higher its singularity. With its weights, styles and layers variety, it's perfect for display use and short texts that require a visual impact. Singolare is composed by five weights, from Ultralight to Black. Every weight has its own stencil variation with expressive cuts and four decorative versions: three outline and one inline version, that can work on it’s own or overlapped to the black normal version (changing the colors of each layer) in order to amplify its usage possibilities.

ED Muskrat is a display font family that looks elegant classic and modern, this font is designed from a combination of serif and semi blackletter fonts that add a unique feel to the font. ED Muskrat has 9 styles: Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, and Black. ED Muskrat is equipped with ligatures, alternative characters, and supports multiple languages. and also this font is perfect for your design needs such as branding, poster design, books, fashion, social media design, logos, etc. Features: Stylistic alternates ( C, E, F, I, J, N, Q, S, Z ) Ligatures ( fi , fj , tt ) 9 Styles ( Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, and Black ) Multi Language Support 373 Glyphs

Winslow Title is a high contrast modern type family comes in two styles and a monolinear script family. The traditional proportions of Winslow Title are historical in nature and follow the design and style of Winslow Book as a high contrast variant. The Winslow Title Mod family is a contemporary take on the style, with tapering terminals and less pronounced finials. Each family includes both styles, to be accessed through the opentype panel as a stylistic alternate. If preferable, you can purchase the entire family collection to have easier access to both styles, but it's not necessary. The typeface family comprises of roman and italic styles in six weights from Thin to Black and two widths in the roman style: Regular and Narrow. The accompanying script family has a single weight but offers five tracking widths, from Narrow to Wide. The bundle is an elegant combination of styles perfect for titling and display design. The serif typeface is packed with features that make ideal titling styles. Not only do they include the Stylistic Alternates, but also Titling Alternates, Discretionary Ligatures, Small Capitals, Swashes and Contextual Ligatures. As noted previously, the typeface comes in two styles, Traditional and Modern. Each can be accessed either by the Stylistic Alternates or Stylistic Sets. Titling Alternates are alternates that expand the ball terminals to K, R, V, W, and Y (see Titling Alternates slide). Contextual Ligatures are for capital combinations with A that tighten the gap created by the extended serifs. It connects characters with a pairing serif (the lower right serif of the M with the lower right serif of the A) and bridges them together. This combination works for single and multiple A combinations. It is turned on automatically in the Opentype panel and shouldn’t need to be accessed individually. Alternatively, the Discretionary Ligatures feature combines diagonal or baseline stems with lifted small capitals, creating a unique combination of characters. Swashes is an extensive feature that offers up to five swash options per many of each character. These can be selected via the Glyphs panel or as character alternates in Adobe programs. The Script family has a feature set of it’s own, with initial and final swashes on lowercase letters, middle swashes for select characters, and a titling feature that joins words together by replacing the space with a line. Stylistic alternates create a bouncing baseline on connecting strokes. *Note: there is no great need to purchase both families as all styles can be accessed via Opentype features, but if customers prefer to purchase both styles, it can be done by selecting the Complete Typeface Family collection.

Some words from the designer, Frantisek Storm... Designed by Josef Tyfa in 1959, digitalized by F. Storm in 1996. This Roman and Italic are well-known perhaps to all Czech graphic artists and typographers ever since their release. Although this type face in some details is under the sway of the period of its rise, its importance is timeless, in contradistinction to other famous types dating from the turn of the sixties which were found, after some time, to be trite. The italics live their own life, only their upper-case letters have the same expression as the basic design. Thin and fragile, they work excellently, emphasizing certain parts in the text by their perfect contrast of expression. When seen from a distance they are a little bit darker than the Roman face. Tyfa Roman was released in 1960 by Grafotechna in Prague for hot setting. Later on, Berthold produced letter matrices - "rulers" for Staromat devices, used for manual photosetting of display alphabets. In the eighties it was available on dry transfers of Transotype and today it is offered also by ITC. The meticulously executed designs of the individual letters in the 288 point size are arranged into a set of signs on a cardboard of about B2 in size. The yellowed paper reveals retouches by white paint on the ink. Blue lines mark the baseline, the capital line, the ascender and descender lines and the central verticals of the letters. With regard to the format of the flat scanner, the designs had to be reduced, with the use of a camera, to the format A4, i.e. to the upper-case letter height of about 30 mm. These were then scanned in 600 dpi resolution and read as a bitmap template to the FontStudio programme. The newly created bold type faces derive from Tyfa's designs of the letters "a", "n", "p", the darkness of which was increased further, approximately by 3%, to enhance their emphasizing function. The text designs have hairstrokes thickened by one third; the contrast between thin and thick strokes has been modified, in order to improve legibility, in sizes under 12 points. We have used electronic interpolation to produce the semi-bold designs. Josef Tyfa himself recommends to choose a somewhat darker design than the basic one for printing of books.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Mastadoni is a bold headliner/masthead typeface, with high vertical contrast in a Didone style. That's the starting point at least. There's much more to this font than another modern clone. It is a specialized (only one weight) typeface that comes in five optical grades. Use G1 at very large sizes and G5 at smaller sizes. The grades can be combined so that the thins of type set at different point sizes appear the same thickness - a very useful feature for magazine layouts. Optical grades could also be used in circumstances where a logo needs to be size-specific; the text on your bistro sign can afford to be more delicate than that on your coffee cups. This is a typeface with a big x-height, small cap-height and stubby ascenders and descenders, which contribute to an overall appearance somewhat different from must Didones, and make for some interesting layout possibilities in tight spaces. Mastadoni features a number of useful OpenType features. All fonts include standard ligatures and automatic fractions. In the discretionary ligature feature, you'll find the esoteric "percent off" glyph. Just type '%ff' with dlig engaged and there it is! Case-sensitive forms are available in all the fonts. The contextual alternates feature performs a subtle trick that resolves an optical illusion whereby two ascenders next to each other appear to be different heights. The Roman and Italic styles have a different group of stylistic sets as follows: Roman: SS01 substitutes a less decorative 4; SS02 is a different eszett; SS03 substitues the # with an attractive numero glyph; and SS04 gives an alternate K. Italic: SS01 and SS03 are the same as in the Romans; SS02 gives you more bulbous variants of v, w, and y letters; SS04 is a single storey g; SS05 changes C, G and S to non-ball-terminal varieties; and SS06 changes the swash versions of E, L, N and Q (when the swash feature is engaged). Speaking of the swash feature, the italic fonts feature swash capitals from A to Z, and swash variations for lower case h k m n v w and z. Lastly, the discretionary ligature feature in the italic fonts has vi, wi, KA and RA ligatures. Mastadoni is a typeface that would find itself immediately at home in glossy magazines, while offering a different aesthetic palette from the more standard choices of Didones.

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutius' 15th century roman type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent project and then sold his drawings to Monotype. According to him, the statement has been made that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made, the italic type produced would have been different." Whichever version you believe, it was obvious that Fairbank's design - while undeniably beautiful - was not harmonious with Bembo roman. A second, more conventional italic was eventually drawn and added to the Bembo family. Fairbank's first design, which was based on the work of sixteenth-century writing master Ludovico degli Arrighi, managed to have a modest life of its own as a standalone font of metal type. It never made the leap into phototype fonts, however, and the face could have been lost, were it not for Robin Nicholas, Monotype Imaging's Head of Typography in the United Kingdom, and Carl Crossgrove, a senior designer for Monotype Imaging in the US. Nicholas and Crossgrove used the original drawings for Fairbank as the starting point for a new digital design, but this was only the beginning. They improved spacing, added subtle kerning and optimized the design for digital imaging. In addition, Nicholas created an alternative set of lowercase letters, fancy and swash capitals and enough alternate characters to personalize virtually any design project. By the time his work was complete, Nicholas and Crossgrove had created a small type family that included Fairbank, a revived version of the earlier metal font, and Fairbank Chancery, a more calligraphic rendition of the design. An additional suite of ornate caps, elegant ligatures, and beginning and ending letters accompanies both fonts, as does a full complement of lowercase swash characters. Now, instead of a failed Bembo italic, Fairbank emerges in its true glory: a sumptuous, elegant design that will lend a note of grace to holiday greetings, invitations, and any application where its Italianate beauty is called for."

Did your client just say ‘can you make it pop’? Then you already know you got it on lock. Introducing: Midnight Diner! A multi-layered dimensional script font family featuring thin, bold, outline and shadow capabilities, with a left-leaning slant to boot. You can experiment with various layer combinations and colour! How fun is that? Being effortlessly casual, retro and elegant all in one, you can play it up or down to your liking – perfect for display graphics, logos, signages, packaging, lifestyle imagery, invitations and more. It features a diverse range of stylistic alternates, contextual alternates, and standard ligatures, ensuring that you’ve countless options to choose from for your design work. This font family is delicately crafted and well thought out with every little detail in mind, to ensure its ease and versatility when used! Midnight Diner is a collaboration between lettering artist and calligrapher, Leah Chong (www.leahdesign.sg) and typeface designer, Roland Huse (www.rolandhuse.com). Product Content: Midnight Diner Layered Font - Thin (TTF) Midnight Diner Layered Font - Bold (TTF) Midnight Diner Layered Font - Outline (TTF) Midnight Diner Layered Font - Shadow (TTF) Font Guide PDF https://drive.google.com/file/d/1KPSf-gGrhX3wyaImEAmlJICERNbxu2IN/view?usp=sharing Font Guide Youtube Video https://youtu.be/GtZ8E7Y7wnQ 6 Bonus SVGs (TTF): Midnight Diner SVG - Red Yellow Midnight Diner SVG - Black Pink Midnight Diner SVG - Blue Green Midnight Diner SVG - Orange Yellow Midnight Diner SVG - Purple Pink Midnight Diner SVG - Black White Font Features: Latin character set: Uppercase & Lowercase A - Z Stylistic Alternates Contextual Alternates Standard Ligatures Numerals, Currency Symbols & Punctuation Accented Characters To access all features of Midnight Diner such as stylistic alternates etc., it's highly recommended to use professional design software such as Adobe Illustrator, Adobe Photoshop, Adobe InDesign or Procreate (via the ‘add text' feature).

Allow me to introduce Pinky Love Font. A carefully crafted collection of fonts combining informal, romantic, sweet, lovely design elements and hand-drawn typographic design elements. Pinky Love Font has many alternative characters, including multiple language support. You can use this font for your work very easily. Because there are many features in it. Contains a full set of upper and lower case letters, punctuation marks, numbers, and multilingual support.

Aguellera is an elegant font with a romantic appeal; this font is for those who are in need of an elegant and appropriately modern calligraphy script. Aguellera will turn any creative idea into a true piece of art! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Wendling - with Sweet Swashes is romantic script font make with many swashes in start and ending character. Make a beautiful style heart with swash. This font includes full set of swash heart lowercase letters, numerals, and punctuation. Also it includes: - short lowercase beginning and ending swashes - lowercase ending heart swashes, which serve to connect two words or letters. This is so perfect for invitations, monograms, wedding, fashion, branding, label. or logotype.

Introducing a new romantic and modern script font called "Shanela", a lovely and sweet swirly letter font. Comes with open type features with a lot of alternates and end swashes to help you to make great lettering. Shanela is best used for headings, wedding events, birthday, greeting cards, logotype, branding, elegant logos, posters, packaging, stationery, website, covers, quotes, merchandise, social media, any project requiring a handwriting, and many more.

Sagitha Serif attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels Sagitha Serif also features a strong neoclassical serif typeface with high contrast, cool, stylish and unique look with alternative fonts, Ligatures, and multilingual support

Migelia is a beautiful script font with perfect alternatives. This font will add a romantic and elegant feeling to your design. Migelia can be used for various applications, such as wedding designs, logos, invitations, posters, social media posts, and others. Additional characters are coded by PUA with a love accent Can be used in any software, such as Adobe Photoshop, Illustrator, Microsoft Word, PowerPoint, and others. Multilingual glyphs.

Blooming Valerian is a thin handwritten calligraphy font with beautiful curves, the slightly wide spacing makes this font look very elegant. Blooming Valerian is a romantic and sweet calligraphy typeface with characters that dance along the baseline. It will add a luxury spark to any design project that you wish to create! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!