Graphic Downloads

10 Skin Retouch Photoshop Action 22290778

ATN

Cinematic Oil Golden Painting 22292082

ATN

Dream Actions V 16348483

5 Dream Photoshop Actions V

The actions are for the best graphic designers and Photographers, with the only one ‘play’ click to the amazing colors, very easy for use, right organisation filters in one group, where you can adjust colors.

Portrait Actions V 16396357

5 Portrait Photoshop Actions IV

The actions are for the best graphic designers and Photographers, with the only one ‘play’ click to the amazing colors, very easy for use, right organisation filters in one group, where you can adjust colors.

Matte Actions VI 16853275

5 Matte Photoshop Actions VI

The actions are for the best graphic designers and Photographers, with the only one ‘play’ click to the amazing colors, very easy for use, right organisation filters in one group, where you can adjust colors.

Dark Actions V 16150743

5 Dark Photoshop Actions V

The actions are for the best graphic designers and Photographers, with the only one ‘play’ click to the amazing colors, very easy for use, right organisation filters in one group, where you can adjust colors.

Dual Light - Photoshop Action 22287629

ATN

Movie Actions V 16321868

5 Movie Film Effects Photoshop Actions V

The actions are for the best graphic designers and Photographers, with the only one ‘play’ click to the amazing colors, very easy for use, right organisation filters in one group, where you can adjust colors.

HDR Actions V 16527289

5 HDR Photoshop Actions V

The actions are for the best graphic designers and Photographers, with the only one ‘play’ click to the amazing colors, very easy for use, right organisation filters in one group, where you can adjust colors.

Matte Action V 16574258

5 Matte Photoshop Actions V

The actions are for the best graphic designers and Photographers, with the only one ‘play’ click to the amazing colors, very easy for use, right organisation filters in one group, where you can adjust colors.

Sunlight Script Font Family - 3 Fonts

TTF

Spike Bot Font Family - 8 Fonts

TTF

A typography specially designed for titles, with alphabets included as Greek or Cyrillic, containing ligatures to make more entertaining.

Vicentina Font

TTF

Sophia Jane Script Font Family - 2 Fonts

OTF | TTF

Bettina Script Font

TTF

Palm Beach Font Duo Font Family - 4 Fonts

TTF

Gustavson Script Font Font Family - 2 Fonts

TTF

Prachar Font

The word ‘Prachar’ means publicity in Hindi. This informal-looking all-caps, slanted script face is exactly the kind of font you could use to create shop or grocery store signs that need to look hand-painted. Each letter in the font has visible stroke contrast and rough edges. Prachar was designed by Black Foundry in Paris/France, and includes a character set large enough to be able to set all European languages written with the Latin script.

Serp & Molot Font

TTF

Bespoke Serif Font Family

 Bespoke Serif is family of serif fonts intended for use in text sizes: this is a typeface designed for reading. The serifs at the end of the letterforms’ strokes are wedge-shaped. The letterforms themselves feature large and open counterforms, which help maximise the typeface’s legibility. The family includes five weights, ranging from Light through Bold.

 Gilda Font Family - 3 Fonts 

Designed by Carine de Wandeleer, Gilda is a script font family. This typeface has three styles and was published by Eurotypo.

Pierson An Essential Serif Typeface Font Family - 3 Fonts

TTF

Clash Grotesk Display Font Family - 6 Fonts

Clash Grotesk Display is a family of sans serif fonts for use in large sizes. While the design of the family’s six styles – ranging in weight from Extralight through Bold – is generally neo-grotesk in style, one feature immediately sets them apart from other typefaces of that genre: The letterforms have very small ‘apertures’. These are the openings at the edges of counterforms; if you look at the ‘c’, for instance, the space between ends of the arms on the letter’s right-hand side is very small. It almost looks like that aperture is about to close shut. Clash Grotesk Display is eye catching, but its ‘design trick’ does not go overboard. The typeface is tame enough to be used in corporate identity work, while remaining exciting enough for editorial designers. Clash Grotesk Display has a companion family available for use in smaller-sized text: Clash Grotesk. In terms of design, the biggest difference between Clash Grotesk Display and Clash Grotesk is that the later typeface’s letterforms are drawn with strokes that are optically monolinear, while the letterforms in Clash Grotesk Display have much more stroke-contrast. As the Clash Grotesk Display family’s weights get heavier, the contrast in the letterforms’ stroke connections becomes very prominent. Their appearance becomes quite ‘pinched’. Clash Grotesk Display’s numerals are proportional lining figures, just as tall as tops of the uppercase letters. The lowercase’s ascenders rise up to this common capital/numeral height, too. The fonts’ x-height is tall. Clash Grotesk Display’s lowercase ‘a’ is double-story, while its ‘g’ is single-storey.

Hoover Font Family

Hoover is a family of five monolinear slab serif fonts. Their most striking feature is that their letterforms do not included any curved or rounded parts at all. Elements of the roman alphabet that are usually round have instead been built-up here out of a combination of horizontal, vertical, and diagonal strokes. This style immediately calls Anglo-American ‘collegiate’ graphics to mind. Letters like those in the Hoover fonts have also been used, generally speaking, to promote many kinds of athletics for over a century.

Excon Font Family

Alisa Nowak’s Excon is a versatile six-weight family of sans serif fonts; it is also a tribute to the work of the master French designer Roger Excoffon (1910–1983). Excon’s letters are top-heavy, a rarely-explored idea in type design Excoffon himself experimented with decades ago. He was followed in this later by a few colleagues in The Netherlands. By referencing Excoffon’s style, Excon’s design drinks from the fountain of French-style sans serifs from the 1950s and 60s.

Bookmark Font Family

Bookmark is a family of display serif fonts for use in editorial design. The typeface includes four weights: Light, Regular, Medium, and Bold. Each weight features a high degree of stroke contrast. The letters’ angle of stress is vertical, and they are all drawn so that they are slightly condensed.

Sparose Font Family - 3 Fonts

TTF

Karty Font Family - 5 Fonts 

Karty is an outline freehand typeface that was inspired by John Baskerville’s designs. Karty comes in two version: Outline and Shadow fonts, including a large set of swashes, ligatures and stylistic alternatives, which bring the chance to create logotypes, originals headlines for fashion magazines, children books, advertising and much more.

Ramkoers Font Family - 2 Fonts

TTF

Ramkoers means ‘Collision Course’ in Dutch. I made this font with a bit of salvaged plastic and thick black paint. I carved a wedge out of the plastic and used it as a spatula to apply the paint to the paper. Ramkoers is a bit of a rough & ready grunge font with some jagged edges and wobbly stems. Comes with an abundance of diacritics.

Qatar Capital Font Family - 2 Fonts

TTF

Gambetta Font Family - 10 Fonts

Gambetta is a family of serif fonts designed for use in text. Its ten styles are spread across five weights, ranging from Light to Bold; each weight has an upright and a companion italic font on offer. Gambetta’s letterforms are drawn with diagonal stress, and they letters have visible contrast, too. The degree of contrast that is visible increases with every weight in the family. Several of the terminals on the strokes of Gambetta’s letterforms feature very prominent wedge-shapes. In the upright fonts’ uppercase, every vertical terminal has been designed with one of these ‘wedge terminals’. These have been left off of other letterforms, judiciously. For example, the lowercase ‘a’ in the upright fonts don’t have a top-left terminal. This decision results in ‘a’ counterforms that are quite open. The numerals in Gambetta are proportional lining figures; the top of the ‘3’ is very distinctive, as it is flat. The numeral height is slightly lower than that of the uppercase letters; the lowercase ascenders, in turn, are taller than the capitals. In Gambetta’s italic fonts, the lowercase ‘g’ is double-storey, while the ‘a’ is single-storey. The ear on the ‘g’ is a prominent diagonal stroke, and the top-right part of the ‘k’ is an open loop. Gambetta is intended for use in book design and in editorial design; the fonts come from Paul Troppmair.

Ekster Font Family - 18 Fonts

Ekster is a geometric sans serif typeface from the Parisian designer Ilya Naumoff. Many of its letters are simplified; you’ll find several places in the typeface where the connection of bowls to stems isn’t fussy, for example, and horizontal strokes – like those in the ‘f’ and the ’t’ along the x-height – don’t bisect their letters’ main vertical stems (but populate the left-hand side only instead). Ekster’s lowercase ‘u’ is also symmetrical. The family includes a staggering number of weights – eight in total, and these range from Thin through Black. Each weight has both an upright font and an oblique-style italic on offer. The letterforms in all of the Ekster weights are drawn with virtually monolinear strokes. Ekster’s x-height is moderate, and the lowercase’s ascenders rise up to the same height as the capital letters and the numerals. However, the best feature of Ekster’s fonts is the large number of alternates that they contain. Ekster includes alternate forms for almost every lowercase letter, and some even have more than one alternate available – like the ‘a’, ‘e’, and ‘r’. Ekster is an excellent choice for use in both corporate design and editorial design projects, both because of its range of font weights and styles as well as because of its legibility in text.

Comico Font

Comico is an informal handwriting font. Its letterforms are all-caps, and these appear as if they had been written with a slight left-lean. The design has the name Comico, of course, because its letters look very much like the style of lettering used in comic books. Comico’s character set is quite large, and it includes almost 1,000 special glyphs – these are ligatures and alternate versions of letters. Comico’s significant variety of extras will be automatically substituted into any text where the OpenType ‘contextual alternates’ feature has been applied. Indeed, the use of this feature is especially recommended for Comico (it is is for all glyph-rich fonts like it), since having multiple versions of each letter in a text make it more likely to appear handwritten. Most of the counterforms in Comico’s letters are large, and all of the letters’ minute details is drawn with straight lines. While the font is intended for use at natural handwriting sizes, if it is used very big, text set with Comico will actually appear pixelated. Comico is the work of Frode Helland, a type designer from Norway.

Britney Font Family

This is a quirky display family with very high contrast and double strokes on the stems. It lives on the border between sans serif, cursive, and script typeface. The shapes are loosely based on experiments we made with the pointed brush, but we kept the Britney very clean and crisp as opposed to giving it a handwriting feel. Unlike other typefaces inspired by the pointed pen, capital letters have been kept rather simple, without loops or flourishes. That way, the used can even use words in all-caps if wanted.

Didac Font Family

Didac is a serif family whose letters follow the archetype for ‘modern’ or Didone-style serif faces. They feature a vertical axis and are high-contrast. However, Didac’s structure has a different ductus than some of the most-common moderns; it has a more humanist feeling and is closer to transitional typefaces like Baskerville than one might expect. The family has five weights on offer, ranging from Light through Black. Each weight has a companion italic, too. Didac is a typeface for displays purposes like headlines, but it is efficient in short texts, too. The more extreme weights – like the Thin and Black – are especially suited for headlines and display typography, while the Regular and Italic styles are more likely to hold up well in book and magazine typesetting.