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Angostura Font Family - 17 Fonts
Angostura is an out-of-the-ordinary sans-serif typeface. It’s available in 7 weights, italics and various special effect styles.
Natalie Font Family - 3 Fonts
Natalie is a condensed Slab Serif font that was inspired on some film posters from the middle of the last century. Actually this typeface looks like a typically vintage stile. Natalie has been designed for use in many kind of commercial job and typographic work like posters, brochures, packaging, logotypes, magazines, children books, headlines, booklets, leaflets, websites, and much more. This font has also a set of ligatures, stylistic alternates and swashes that enlarge the visual impact. Natalie can offer you more creative chances.
Chaotic Neutral Font
I'm letting my inner nerd show through on this one: “Chaotic Neutral” is a Dungeons & Dragons thing. But the name applies to this font, too! Chaotic: This font has all sorts of built-in irregularities. Some variation in letter heights and letter widths, and the stroke widths are all over the place. It’s all about the hand-written messiness. Neutral: And yet! I've smoothed the strokes a bit, and gone for as few nodes on each letter as I can (while still keeping a bit of roughness), so this font can be used for any kind of purpose -- not just print, but cutting out as well!
40+ Amazing Brush & Script Fonts / Typefaces Of 2018 (+PSD Mockups)
43 Fonts | 30 TTF | 40 OTF | +2 Ai | +2 PSD | 45 MB/209 MB(PSD)
Milestone Font Duo 22300169
OTF | TTF | 107 KB
Mix Fonts Bundle 13
OTF TTF | 11 MB
Mix Fonts Bundle 14
OTF TTF | 18 MB
Srows Font
OTF | TTF
Cristalistic Font
OTF | TTF
Sthephen - 2 Fonts
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Passenger Display Font Family - 14 Fonts
Passenger Display is a high-contrast “modern” or Didone-style font family. It is intended for use in headlines, signs, or posters – any place where you need to set large, elegant-looking type. Passenger Display takes the idea of early-nineteenth century types – vertical axes of stress, combined with ball terminals – and dials up the stroke-contrast and degree of sophistication. It features serifs that thin gradually into fine lines and points. The family is ready for use in editorial design and corporate communications projects. Passenger Display includes seven weights, ranging in style from Extralight through Extrabold. Each weight has both an upright font and an italic on offer. The fonts’ default numerals are proportionally-spaced lining figures. Via the OpenType features, there are also oldstyle figures and tabular figures available, as well as a full range of numerators and denominators for typesetting fractions. The ascenders of the lowercase letters rise up above the tops of the capitals. In the upright fonts, the ‘a’ and the ‘g’ are double-storied. In the italics, they are single-storied. Each font includes 13 f-ligatures. Passenger Display has a companion typeface available for larger-sized applications: Passenger Text. Passenger Display and Passenger Text can be used together to powerful effect in magazine layouts, or in exhibition design graphics.. The Passenger families were designed by Diana Ovezea and Samo A?ko.
Schmalfette Font
In German, the typographic term ‘Schmalfette’ means ‘condensed heavy’. This single-weight typeface lives up to its name. Its letters have been drawn so that they are both narrow and dark. The counterforms are particularly interesting, as they appear to be just thin lines swimming in the letterforms’ mass of darkness. Schmalfette is spaced very tightly; the amount of white space placed between each letter is optically about the same size as those line-thin counters. To make this work even better, the font includes a few contextual alternates to improve the fitting, such as a ‘j’ with a different tail and a few separate versions of the ‘g’, each of which has a subtly different treatment of the descending loop. Schmalfette’s x-height is tall, and its ascenders rise to the exact same height shared by the tops of capital letters and numerals. Some capital letters have very unique design solutions to them that lend them to logo design (and also to concert flyer design), such as the ‘F’, ‘Q’, and ’T’. The numerals are also all quite eye-catching. Schmalfette is a typeface from the Norwegian designer Frode Helland.
Aziga Font
In a typeface category that has been sorely under-represented until now, Aziga is a high (occasionally reversed) contrast, postmodern, deconstructed-reconstructed, serifless (mostly), fashion didone! Aziga lends itself to being set loud and proud, and the consistent angles throughout the glyphs make it a good candidate for more abstract typographic compositions. For the really graphically inclined (excuse the pun) a rotaion of 66° will make the main diagonals in the font horizontal and vertical. Features include stylistic and contextual alternates, ligatures and case sensitive forms.
Stardom Font
Stardom is a very high-contrast serif typeface. It is intended for use in headlines, signs, or posters – any place where you need to set large, elegant-looking type. The design’s letterforms have been drawn with vertical axes of stress, and many of the their strokes terminate with large, sharp, wedge-shaped serifs. These are particularly noteworthy in Stardom’s ‘C’, ‘G’, ‘S’, ‘a’, ‘c’, ‘s’, ‘y’, ‘ß’, ‘2’, ‘3’, ‘5’, ‘6’, ‘9’, and ‘$’. The shapes of the counter inside of the letterforms are large and open, ensuring that text set with the font will be clear and distinct. Stardom’s lowercase letters feature a large x-height and the ascending strokes rise slightly above the tops of the capital letters, but the font’s numerals still share a common height with the uppercase. Despite being a display typeface, Stardom’s diacritical marks are large and prominent. Stardom an excellent choice for editorial design and corporate communications projects.
Lansdowne - 2 Fonts
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Kumma - 2 Fonts
Kumma is a fresh and spontaneous script font, with an agile and expressive stroke. Specially designed for use in packaging, posters, brochures, greeting cards and much more.
Valent Font
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Feondra Duo Font - 2 Fonts
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Vernaccia Font Family - 4 Fonts
Vernaccia is a type family of four fonts: Regular, Bold, Condensed and Condensed Italic. Is a modern and casual calligraphy typeface. As an exclusively Open Type release, with 759 glyphs and 45 ornaments, it has several special alternatives for all letters with lots of possibility and an infinity of combinations. Most of the ornaments can be used alone, but actually they were especially designed to combine with the different glyphs. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, ornaments, and much more. These fonts have already an extended character set to support Western European languages.
Fleurie - 2 Fonts
A 1920s inspired flowering script typeface.
False Idol - 2 Fonts
Based upon bad rub-down lettering from 1970s pornographic magazines and home-made religious leaflets, False Idol’s letterforms were intended to mimic a feeling of cheap glamour but just became seedy. Somehow, an alluring beauty emerges from this naive mix of sleaze and chic which has made False Idol one of our most popular fonts.
Routerline Rough Font Family - 4 Fonts
Routerline Rough is a script font design published by Lukman Hidayat.
Lettuce 32425
Lettuce is Modern Calligraphy. This font was designed by handwriting, and it has a modern and unique forms of calligraphy, the writing style is very natural.has 354 glyphs of which 185 alternate glyph.
Dalek Pinpoint Font Family
Designed by Keith Bates, Dalek Pinpoint is a display, novelty and foreign font family. This typeface has four styles and was published by K-Type.
Wolframia 91660
Wolframia is a modern calligraphic font, expanded and rounded, with a manual and casual look for striking headlines, invitations, congratulations or elegant advertising.
Akhand Gurmukhi Font Family
Akhand Gurmukhi is a family of 8 compact mono-linear typefaces. The letterforms are dynamic; typically round shapes appear more compact, as their verticals have been flattened. This ‘straightening out’ gives text set in the typefaces a streamlined look. Indeed, Akhand Gurmukhi is designed according to a modular system. All shapes bear a strong commonality to each other, without becoming repetitive. However, the curves in the modules have all been optically corrected, removing the mechanical nature that would otherwise become too dominant.
Suhainora 99330
Suhainora Script is a hand drown calligraphy font, organic, dynamic and energetic sytle.Can used for various purposes. such as the title, signature, logo, correspondence, wedding invitations, letterhead, signage, labels, newsletters, posters, badges, etc.
Corner Font Family
A unique kind of type by Michael Herold: The 14 cuts of Corner are equally distributed to the two style variants A and B. From Thin to Extra Bold, variant A comes with technical and pure forms while B appears with a soft, more personal character. In combination, the two variants add up to a highly versatile family which is very well suited for branding purposes, thanks to its diverse forms of expression.
Elise Dafisa - Elegant Script Font 72578
"Elise Dafisa" includes full set of lovely uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. All lowercase letters include beautiful and unique (each letter has own "unpatterned" ending) beginning and ending swashes. Also, includes following multilingual symbols.
Pitch Sans Font Family
Pitch Sans emerged from my standard operating procedure. Previously I’ve talked about how I “experiment with my typefaces by adding or subtracting serifs”. I feel compelled to try this with every typeface; it’s like conceptual due diligence. Will the refined letters of one style supply the raw ingredients for another? Certain fonts are stoic, content to remain alone. Others more readily offer up details and structures that can be adapted. Good adaptations are paradoxical: they’re structural antonyms and aesthetic synonyms. Structure is easy to change, but an aesthetic is hard to translate.
Bushel & Peck Font Family
Designed by Callie Hegstrom, Bushel & Peck is a dingbat, hand drawn and modern calligraphy font family. This typeface has four styles and was published by MakeMediaCo.
Louisette Font
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Cheddar Gothic Rough Font Family - 2 Fonts
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Sanös Brush Script Font
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This is Signature
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