CM - Sellisa Script 1324531
Sellisa is a stylish calligraphy font that features a varying baseline, smooth line, classic and elegant touch. Can be used for various purposes.such as headings, signature, logos, wedding invitation, t-shirt, letterhead, signage, label, news, posters, badges etc.
OTF | TTF | RAR 1,6 MB
CM - Schnitzle AOE 1294566
Schnitzle is a rough sans-serif, with the look of a chewed up straw and the feel of a stylish and playful typeface. Inspired by hand-lettering from a 1950's series of old detergent ads with a grimacing baby, this typeface has all of the spunk of its source. The end result, a festive tribute to its origins, easy to read and fun to look at, a perfect typeface for childrens' books, advertisements, and playful designs!
OTF | TTF | RAR 174 KB
42 Professional Fonts from Mellow Design Lab
42 high-quality fonts.
Diverse styles - Script, Display, Sans-Serif.
Loads of OpenType Features - ligatures, alternates, swirls.
Perfect for logos, product branding, wedding invitations, T-shirts, posters and more.
It's time to give your typeface toolbox a serious expansion! With this Mighty Deal from Mellow Design Lab, you'll get 42 high-quality, professional fonts for 1 ridiculously low price. With styles ranging from Script to Display, you'll also get plenty of OpenType features and an extended license to ensure you're set to design away til your heart's content!
Vakia is modern script font, every single letters have been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project ex: quotes, blog header, poster, wedding, branding, logo, fashion, apparel, letter, invitation, stationery, etc.
Drunken Message - Handwritten font Handwritten font with a casual, freehand style. Suitable for greeting cards, branding materials, business cards, quotes, posters, packaging, logos, etc. You can view all the letters, numbers and symbols in the 2nd preview image. File included: TrueType Font file (.ttf)
An all caps font that is hand lettered. The font is simple and all about embracing imperfections. It would be best used for social graphics, blog post titles, or for flyer designs. What is included: 1 .OTF font created in FontSelf Letters included: A-Z and #0- 9 and .! All standard license requirements apply Enjoy using the font!
Introducing Sundaze! Important info at the bottom of this description, please read! Sundaze is a stylized colour script font, designed for use in Photoshop, and capturing the lazy, laconic surf vibe of Sydney’s northern beaches. Bitmap fonts have advantages and disadvantages - for example the colour of this font can’t be changed (which is why I’ve created 3 different colour options in the download file), however the letterform shadows are built-in and require no extra work, creating a badass 3D effect. As this is designed to be quite an organic-looking font, I’d highly recommend playing with the kerning and spacing within Photoshop, or creating each letter on a separate layer and manipulating individually to achieve your desired look. This font works wonderfully well with Photoshop brushes to enhance the dripping, wet paint effect. The download includes 5 different font files; a red flat, red with shadows, green flat, green with shadows, and the original white with shadows. The download also includes the PSD with all characters as Photoshop 'shapes', meaning you can then change the colour of each letter and manipulate it as a shape rather than a font, as well as the shadows on each character as clipping masks. This means you can use the font as shapes in other versions of Photoshop other than CC 2017.0.1 The fonts with shadows are designed to be used on a black or dark background where the letterforms’ shadows bleed into the background image, whereas the flat fonts work well on any image with complementary colours.
Asbah Serif is the perfect font to create sleek and elegant headlines and female website logo designs. It pairs well with both script and sans-serif fonts.
Introduce my new handwriting Drucci Font. imperfect style ups and downs, smooth, clean and simple. perfect for wedding, event, invitation, escort card, table number, header menus, display, logos, slider blog, custom address, stamps, packaging, greeting card, etc.
- Standart ligatures
- Stylistic Alternates
- PUA Unicode (Private Use Areas)
Compur is the name of the most famous photographic shutter of all time. This is a reconstruction of a type face which served for describing various devices, using the technique of monolinear engraving. With its soft forms, stringency of signs and period accent it ranks among the display alphabets offering the widest use in magazines, on posters and – for description of devices. It comes right in small sizes and in inscriptions arranged in a circle.
To design a text typeface „at the top with, at the bottom without” serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting – for double-sign matrices –, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter.
Next generation of award-winning typeface (Excellence in Typography by TDC in 2000, Bukva-Raz! in 2002) Biblon. This 6-font family contains all styles as published by us and by ITC in 2000, plus many more in the 2006 version: new, interpolated Medium colour is a useful contribution for display purposes, numerous glyphs were newly created, old ones redrawn, more swashes of Italics added, 27 new ligatures, and 12 new OpenType Features enable real professional work. Among significant changes you can see slightly taller Small Caps, better kerning, etc... In our modern times people print ever more futile ideas and intersperse them with many blank pages. There is no need to economize on paper and to look out for optically narrowed type faces. An opposite situation is in every biblical society where the editors must cram a text containing some 2000 pages into a single volume. That is where there is a need for type faces which are economizing, legible and spiritually cultivated. The new Biblon type face, therefore, does not need to rely on a wide range of sizes; it is sufficient if it looks well from approximately five to eighteen points. Its elegance decreases commensurately with its increasing size. In poster sizes the speculative construction of the letter form is already revealed – the points of gravity of the strokes are shifted as much as possible in the horizontal directions and the crotches – the spaces between the rounded stroke and the shaft – are emphasized. In small-size letters we hardly notice that almost all horizontal serifs (if they have not disappeared entirely) have been pushed inside the letter form so that they should not hamper the adjacent letters. To quieten the lines, the accents have been miniaturized as well. The figures have uniform width and avow the lower case principle. The italics of Biblon have been stylized more daringly, with the use of long-forsaken Rococo elements. The slanted designs of the small capitals have upper case letters slightly submerged under the capital line, in order to enhance the decorative character of titles and headings. Biblon has a large x-height of lower-case letters and one can get used to its compressed proportions. Many condensed type faces leave a feeling of distress after longer reading. Here, however, this has been sophisticatedly eliminated. We have availed ourselves in this type face design also of several optical tricks dating from fairly recent period, but our main source of inspiration was the daringness of type designers of the 18th century. Underneath the contemporary-looking design of Biblon one can conjecture a Baroque play with the shifting of shadows, intentional overstatement or absolute simplification of forms. Even though Biblon probably will not be used for its purpose in the near future, it represents a very sound body type.
American Whiskey is All caps font with modern and vintage western style. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS and Adobe Indesign. You can use this font for various purposes. such as logo, t-shirt, posters, label, badge, letterhead, book cover and etc.
Here we are, giving matter mad shine. Mad as bathing hot cakes in mercury, dripping off quick like silver, steeling with a sticky sparkle. Chrome Syrup in squeeze bottles, in the door of your fridge, to the door of your car, decorating plates like caramel.