Bombshell Pro is a passionate hand-calligraphy font that includes long connections between letters so you can create beautiful headings or signature looks.

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Make way for Filmotype Power, a wide bouncy sans serif originally released by Filmotype in 1955 and captures the essence of mid-century casual playfulness.

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Filmotype Major is one of the hallmarks of the Free Style faces of the Filmotype Library. This bouncy sans serif was originally introduced in the early 1950s and captures the essence of mid-century casual playfulness. Its most popular use can be seen as the titling font for the popular children’s book by Dr. Seuss entitled One Fish Two Fish Red Fish Blue Fish released in 1960.

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Vertigo Death is a decorative font inspired by the heavy metal and extreme sport culture.

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Cinematic English is a decorative font inspired by modern movie logotypes and classical black letter typefaces.

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Artù. Strano ma vero, strange but true. A beautiful, intelligent and lively Italian dog and a great friend, unfortunately no longer among us ... but his memory lingers. A typeface designed in Rosennano (Tuscany), its Italian, but executed in Amsterdam. This monospace typeface might prove to be extremely useful for household products like washing powder or any anything like that. Just use it in your designs, let it live!

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Initially offered in the late 1950s, Filmotype Panama was one of Filmotype’s ‘tipsy’ serif Free Style typefaces which featured a delightful blend between casual serif and latin styles.

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Filmotype Adonis is one of the earliest casual handwritten scripts that was introduced by Filmotype in the early 1950s. It perfectly captures the mid-century playfulness of hand lettering while providing comfortable readability.

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Herbie is a uppercase display font with alternates on every character (upper/lowercase), based only on circles and geometric lines. Herbie is inspired by, as the name might indicate, Herb Lubalin’s work and the decorative style and kerning of his era.

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Realistic, connected script handwriting.

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The handwriting of a teen girl- bubbly, round, legible, and cute.

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RPM 45 is a free font inspired by french alphabets from the early 1930’s.

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From pastiche to sophistication‭, ‬Garçon Grotesque improves on a classic for today’s designer‭. ‬Designed in a multitude of weights‭, ‬extended latin character set‭, ‬small capitals and a working lowercase‭, ‬Garçon is built for any situation that calls for sophistication‭, ‬elegance and culture‭.‬

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“Sherbrooke” is a simple and sans serif font. I have chosen the name of this typeface after the “Sherbrooke” Street in Montreal, Canada, that I daily walked in for several months in the late 2005 while I was studying in Montreal, Quebec, Canada. I do adore this street and also I adore the whole city of Montreal.

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Beautiful fern silhouettes. Ferns is a picture font with highly detailed illustrations drawn by hand from careful botanical study. Great anytime you need an organic feel, some nice plants or a touch of nature.

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The tattoo script inspired Keepsake™ family has five members that can be combined to provide a range of creative options. Rich with OpenType features including discretionary and contextual alternate characters and ligatures, and other stylistic alternates (check out the Keepsake type specimen PDF), each face includes three options for every capital letter and multiple lowercase options. All five fonts support Latin, Eastern European and Baltic languages. Other features include four decorative elements, and optional old-style figures accessible by supporting application’s OpenType menu.

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‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam.

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Gaytan (Bulgarian for braid) is a fresh new insight on archaic letterforms. A family of two unicase typefaces - a modern looking sans and more classic looking serif, equipped with many alternates, so they can suit any typographic taste. Gaytan’s unique design was inspired by Old Church Slavonic Cyrillic, Bulgarian Ustav and the Russian Vyaz stiles, as well as the avant-garde works of Bulgarian type designers in late 1970s.

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Monogramma is a set of 676 beautiful and unique Monograms plus some doubles. There is one monogram for each possible letter-combination! For easy use I packed the monograms in 13 packets. One for two starting letter each. So if for example you look for the monogram “GW”, you must choose the packet "Monogramma-GH" -- the G-combinations under the uppercase letters. You now have to type a capital “W” and Bingo you have the combination GW! Some letter-combinations have doubles, just check the numbers 0 to 9 if there is anything to be found. If you buy the whole set of monograms you get the basic font free of charge!

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Circumactio, the Latin for Spin, is a thin Typeface based on a grid. The circle in the grid replaces the Crossbar, and gives the Typeface a little differential.

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Galanda Moderna is an occasional caps typeface with a reference to the book cover design of famous Slovak painter, graphic artist and illustrator Mikuláš Galanda (1895-1938).
The text, of the basic design Regular, holds a nostalgic touch of early 20th century. The Light version is treated separately, not only as a literal processing of the original weight Regular, and therefore the text appears a bit different with even secession flavor. The font is produced in OpenType format, in two weights Regular and Light and it is multilingual.
Alphabetic characters are geometrically clean with strong accents.
The font is intended mainly for posters, headlines in books, newspapers, where its plain and clear design can be fully expressed.

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Eslava is a typeface with 5 styles, applicable for any kind of graphic design, specially for logos, headlines, motion graphics, print and clothes.

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Assembled for the first time anywhere with complete Avengeance! Gather your team and craft the mightiest logo on earth with a collection of the most powerful glyphs in existence. No time for puny layouts. Grab a hammer and smack these letters around until the results are golden. Smack them a little harder and you might just see stars--or is that an arrow? Is that a giant man in red underwear? I can't say. There’s a wasp buzzing in my ear. But alas, let no trickster delay thee. The power to craft a proud statement of graphic import is finally at hand. But first you'll need to click on the gallery tab above and dowload the PDF KEYMAP, because some “assembly” is definitely required.

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Eslava is a typeface with 5 styles, applicable for any kind of graphic design, specially for logos, headlines, motion graphics, print and clothes.

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Graphic designers of any nationality and background know very well that the art of composing titles correctly is not easy, Especially when it comes to periodical publications where there is need for both flexibility and graphic coherence. Tablet Gothic was originally engineered as a titling type family, meant to help designers working on publications that require output as hard copies and a variety of digital platforms at the same time. As such, it is a grotesque sans serif that looks to the future of publishing with a clear understanding of its history, and reminiscences that go back to nineteenth century Britain and Germany.

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New Eurostile! A redesigned Eurostile font, Astor font, was created inspired of one of most used fonts in the world. Idea was to make new, contemporary design of old Eurostile font which was created 1962. by designer Aldo Novarese.

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Eslava is a typeface with 5 styles, applicable for any kind of graphic design, specially for logos, headlines, motion graphics, print and clothes.

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This is the cool and stylish relative to Familiar pro. Like a cousin. Or perhaps a second cousin twice removed. Because parts of the letters are removed, see...

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Frykas is warm and friendly, hand-drawn font. It has a simple form with subtle irregularities, but no swashes or ornaments.

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High-quality type design. Originally designed for headline / logo use. A lot of high-quality glyphs designs in this one so be sure to view the specimen PDF as well as the glyph page. Enjoy. - Kostelansky

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Hand-drawn playful lettering full of curls and whimsy. This is designed to be completely legible while still offering a fun flair to a finished project.

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White Rose is an original hand-drawn typeface that was made for the White Rose Catholic Worker house in Chicago. White Rose (the Catholic Worker house) follows a long tradition of providing hospitality, being active and involved in the community and living a sustainable lifestyle. In the same way, White Rose (the typeface) follows a long tradition of typefaces, mimicking Old Style and Transitional forms while retaining an element of style.

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Stencil version of TecoSans.

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Pingo is a nice, happy serif typeface. It is uncomplicated, playful and fun to use. Pingo comes with extensive language support.

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JulianaJoy is a condensed elegant sharp serif typeface for headline display and text use. Several alternate characters are included with this original font design.

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Since I have my new logotype people are asking me about the typeface it is based on. But it did not exist and I did not believe that it would actually work. I still love my logotype and so I went on to try to make it work as a font. After many different versions and some doubts I am glad to present Jocham. It is the first typeface with my name. For an obvious reason. There is only one weight with an italic. I tried different weight, but they were all not as strong as the final.

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Seleniak’s outlines are based on the logo of the eponymous MSX video game, also created by its designer. Thus, all ratios are multiples of the typical 8x8 px video character unit, giving the typeface a characteristic appearance and interesting fitting properties.

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Souffle fonts are carefully hand-drawn made, with different letter shapes, full of ligatures, and stylistic alternates that will provide great flexibility for your designs.

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QuickDeath was designed with the intention of being a versatile display font. It can add an eerie undertone or be pretty cutesy. Quirky irregularities are what really make this font stand out.

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A geometric sans serif with a precise fabricated appearance. Smooth corners are mixed with subtle angles to form a strong, legible typeface ideally suited for a wide range of applications. Details include 6 weights with italics, an extended European character set, manually edited kerning, stylistic alternatives and Opentype features.

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Each character of Dog Eared began its life as a half-inch wide strip of paper, folded and Scotch-taped into formation, and then scanned and recreated digitally. Dog Eared is distinguished from other folded paper style typefaces by its robustness and versatility: each numeral and upper- and lowercase letter has a stylistic alternate. Dog Eared Striped is a traditional single color font, while Dog Eared Solid is a chromatic variant that can be used for a two-toned effect. Layer and multiply Dog Eared Striped and Dog Eared Solid together to achieve even more color variety.

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All three fonts - Dropout, Rough Diamond and Thorny, evolved from experimenting with a cubic template I devised as the basis for a retro display type series titled ‘Flashback’. I experimented with numerous shapes initially to see which forms lent themselves best to the negative spaces forming the characters. Although many interesting variants are possible within this context, these three were resolved the best out of all the options tried.

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Rather Jazzy, Rather Loud: a family of two quite distinct fonts that perform together handsomely well.
Both fonts include 2 versions for each letter, easily reachable through keyboard upper and lower keys. They also come packed with Contextual Alternates functionality to instantly cycle the alternates, providing a realistic handcrafted feel: just turn on the feature in any OpenType savvy application and let the music sound.

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Fox Grotesque is another member of the Fox Family and stylistically finds itself between Fox TRF (with some extreme curly lowercase letters), and Fox Sans (a cold geometric sans-serif). While the typeface is intended for use in display sizes, it is also quite legible in text and is well suited for editorials.

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Triumphant, vigorous and strong. These were the keywords for the design of Girga, named after an Egyptian city in the Sohag Governorate. The power and strength of the Egyptian letterforms were balance with a few sans serif forms so the darkness of the text and the fatness of the overall glyphs could be kept. We never intended to design a revival of the nineteen century egyptian typefaces, but we included a series of features that can be found in many wood letters from that era. With five styles divided in Regular, Italic, Stencil, Engraved and Banner, Girga is full features that allow many design possibilities.

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Glass Light was designed in 1912 by Franz Paul Glass for the Genzsch & Heyse foundry. The font is stylewise related to the “Lo types” of the same period. Glass designed a lot of decorative elements to go along with the font. I added Swashes, endletters and smallcaps to the set to make it complete. Since this type of font will probably not be used by many professionals, I did not put all the letters into one big OTF-version since most people don't have OTF-savy software. These fonts can and should be mixed for optimal results. Your decorative designer Gert Wiescher

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The Verdana typeface family was designed specifically to address the challenges of on-screen display. Verdana was originally designed by world-renowned type designer Matthew Carter, and tuned for screen display by the leading TrueType hinting expert, Tom Rickner. The Verdana fonts are unique examples of type designed specifically for the computer screen.

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Originally designed in 1996 by Matthew Carter and hand-tuned for the screen by Tom Rickner. The Georgia typeface family received a major update in 2010 by Monotype, The Font Bureau and Matthew Carter.

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An isolated letters typeface design with a comic feel. All letters start with a prominent circular dot. All final shape letters end with a smaller dot, in addition. The Nuqat (Arabic for dots) font family has four members which include two weights, normal and bold, and comes in regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. The Nuqat font family employs variable x-height values. Nuqat includes only Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Nuqat includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

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An isolated typeface design with a calligraphic flavor. The Nastarkib font family employs visual features from the Urdu Persian Nastaliq Calligraphy. Visual connectivity is accomplished by overlapping glyphs with downward slopes. This font family has four members including normal and bold weights with two styles each, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Nastarkib employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Nastarkib includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

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A connected typeface design with a calligraphic flavor. The Lahab (Arabic for flame) font family employs visual features from the Arabic Diwani Calligraphy. It has six members, normal, bold, and light, all of which come in two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Lahab employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Lahab includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

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A completely isolated letters typeface design with an overall Hebrew look and feel. Glyphs were designed with an emphasis on isolation and vertical feel with a visual connectivity measure to help easy reading. The Ibrani (Arabic for Hebraic) font family has two members, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Ibrani employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Ibrani includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

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A text typeface design with completely isolated letters and extra emphasis on vertical feel and visual connectivity to aid easy reading. The Hallock font family is named after Homan Hallock, a New York based American type designer and typographer who created the first documented unified and isolated Arabic font design in July 1864. The Hallock font family has two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Hallock employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Hallock includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

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An isolated letters display typeface design which emphasizes the vertical stems and has an overall Arabian tales and oriental look and feel. All letters start with a prominent vertical stem shaped as pirate sword and ends in very narrow stroke. Banan font family has two members, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Banan employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Banan includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

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Yummo is a geometric and somewhat condensed sans serif type family that can be used in wide range of applications. The minimal glyphs that had been shaped superbly will give modern and contemporary impressions.

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Bergamot was inspired by vintage apothecary labels, but this font is actually quite modern in both style and effects.

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Knud V. Engelhardt (1882–1931) was an architect, printer and designer from the country of our laid back neighbors, Denmark. Knud’s characteristic letter forms have already made a strong impression on some modern typefaces. Most notably is probably Skilt Gothic by a fellow Swedish compatriot, where Knuds way of trimming the diagonal stems is one of the spices used to give the typeface its character.

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Sintesi Sans.
Sans meets serif.

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Let visions of Sugarplum dance in your head with its playful carefree spirit! Use Sugarplum when you want to be nice or Sugarplum Sweet when you want something more sassy and bold! Both fonts feature a full range of alternate letterforms and automatic ligatures available in dynamic OpenType.

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Another techno-sans with interesting compensators, inspirit by Alexander Rodchenko works. Clean, strong, ultra here and there.

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KC Fonts would like to present it’s latest creation: Pewter. Pewter is a three weight font (including italics) with four grungy family members (also with italics) for a total of 14 OpenType/TrueType fonts. The Pewter family allows you to freely mix and match between the weights and the grunge variants as it’s not just the same erosion over and over. The Original Trio: Regular, Bold & Black - they're perfect for your more front page useage and anywhere you need a more traditional look. The Grunge Family: each is different from one another - There is Corroded for the caked on dirty look, Scuffed for a mild abrasion with a worn and washed feel, Stamped for printing press & your rubber stamp effect and Trashed for a destroyed - but not over the top - look to your work. It looks great in all cases: UPPERCASE, lowercase, Title Case & MiXeDcAsE, whether it’s printed LARGE or small it will look great!

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Official is a very clear and legible family of fonts. Its simplicity makes Official an ideal style to use in any project you could imagine.

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Maya Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s) and “Idea Book” to get you started on designing your own wallpapers, textiles, stained/etched/privacy glass window films, or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil).

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STUPID HEAD BB is a comic book sound effects font family with an irregular, hand-drawn outline for a natural, “sketchy” look. Comes with Regular, Italic, Light, and Light Italic. Lots of European characters also included.

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Inspired by thrash metal band logos. Ideal for creating a sense of speed and aggression to any project.

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This decorative tech typeface is inspired by the printed circuits boards of the twentieth century. Its default character set suggests commercially manufactured circuits while the OpenType alternates give more of a home-brew feel.

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Johann is an elegant, geometric, san serif typeface who’s clean, simple structure and form create a versatile typeface that works effortlessly across print & digital applications. Created in 2012 by NiceType, the Johann family consists of 5 weights, plus corresponding italic sets that all have their own individual strengths.

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TOUCHDOWN! This is not a Hoax, not a What If, not an Imaginary Font! The Eagle has Landed... Comicraft’s latest manned mission: Space Age Faces for Space Age Spaces!

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Scissors cuts paper, paper covers rock, rock crushes lizard, lizard poisons Spock, Spock smashes scissors, scissors decapitates lizard, lizard eats paper, paper disproves Spock, Spock vaporizes rock, and as it always has, rock crushes scissors.

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Hand-drawn lettering to add authentic calligraphy style to your work. Rough, jagged edges for realistic ink-bleed.

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The Amal font gets its inspiration from Arabic calligraphy. The font carries the magic spirit of Middle-East old tales, by borrowing the charm of Arabic writing to design its letters.

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Looking for that ‘handwritten’ look? Now you can typeset your handwritten notes using Designer Notes Pro. This font matches the look of a handwritten note, a diary entry, post-it note or sketchbook comment. The letter shapes are based on handwriting created using a Pilot Precise V5RTpen. There’s something special about how it puts ink on paper. This font falls in the script/handwriting font style. Designer Notes Pro Includes 4 versions: regular, italic, bold and bold italic.

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The 1900 specimen book of the Leipzig foundry Schelter & Giesecke featured this curious hybrid of blackletter and Art Nouveau, under the name Petrarka. Its narrow footprint and large x-height make it an ideal choice for headlines which harken both forward and back.

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The Omar Font was completely created by graphic tablet.Omar font family comes in two weights; Normal and Italic. They're all capital but lowercase and capital letters are different from each other.It is legible in small type sizes. With its decorative view, you can get matchless products in typographic works, t-shirt prints, posters, logos and every kind of graphic works.

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The XXII TotalDeath is a metallogofont and it is perfect for creepy, bad readable, symmetric bandlogos like known in the extreme music scene. Its OpenType features are scripted to get easy and quick results. Read more in the PDF or Behance.

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This handwriting is soft and feminine with gentle curves.

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Steadfast and no-nonsense, Heron is always ready to go to work. It began with a Joe Heroun commission for Men’s Health inspired by industrial, machine-made letters. Unlike other type with mechanical influences, Heron is a refined, versatile family, capable of doing the job in both headlines and small text. Heron Serif and Sans are born of hard iron and steel, but galvanized with Cyrus Highsmith’s warmth and energy.

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Inspired by Edward M. Catich’s seminal thesis on the origins of the Roman inscriptional style, such as that found on Trajan’s column, Richard Lipton’s Canto traces the path from an expressive, preparatory Brush (with Brush Open to preserve gestural details at smaller sizes), through informal Pen, to the formal Roman. Classical capitals are accompanied by Lipton’s own calligraphic lowercase, small caps, and swashes.

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Since 1997, The Washington Post’s iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post’s founder, Stilson Hutchins.

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Steadfast and no-nonsense, Heron is always ready to go to work. It began with a Joe Heroun commission for Men’s Health inspired by industrial, machine-made letters. Unlike other type with mechanical influences, Heron is a refined, versatile family, capable of doing the job in both headlines and small text. Heron Sans and Serif are born of hard iron and steel, but galvanized with Cyrus Highsmith’s warmth and energy.

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