9 OTF Fonts | Designer: Gert Wiescher | Design Date: Jul 7, 2015

http://www.myfonts.com/fonts/wiescherdesign/marmelade/

»Marmelade« is a useful script, always ready to adorn that latest jam-jelly-confiture-marmelade project. It is a joining-script, or a script with printed small caps, whatever you like. Marmelade comes in two different scripts »Basic« and »Plus«, and one »Print« set with small caps. I added a set with »Start-and-End« letters as well as one set with those long »Underswings« below the caps. For good measure I give you three sets of readymade »Words« in English, French and German. Last not least there is a set of »Fruit« sketches that come in handy for everyday jams. I sell all the flavors in one set only, but at a boiled down price. Enjoy!

Destra - Narrow Serif Family $145 NEW!

8 OTF Fonts | Designer: Isac Rodrigues | Design Date: Jul 7, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/isaco/destra/

Destra is a contemporary, narrow serif family, suitable to save space and legible at small sizes. Its shapes are the result of a mix of styles. “Destra” is the Portuguese word for “right hand”. The font has several OT features - fractions, old style-, lining-, tabular numbers, superiors/inferiors, alternative glyphs, dozens of ligatures (standard + discretionary) and an exclusive feature to convert Arabic to Roman numerals up to 1000 (download the “OT Features Guide” pdf). Moreover, Destra has an impeccable technical finish, with a systematic review of nodes, curves, spacing and internal data, eliminating the possibility of errors when using it. The family consists of 8 styles, 4 weights - Regular, Medium, Bold and Black, plus their respective italic versions. The fonts are available in OpenType PS/TT and have extended character set to support CE, Baltic, Turkish as well as Western European languages. You can test Destra downloading the free trial font in Medium version (TT only). This trial file supports only Western languages.

TCF Zellige - Modular Typeface $66

4 OTF Fonts | Designer: Pedro Leal | Design Date: Jul 7, 2015

http://www.myfonts.com/fonts/typecult-foundry/tcf-zellige/

Zellige is a modular typeface inspired by the tiles that can be found in Southern Europe and North Africa. Made of ornamental geometric shapes, with two layers for improved legibility, Zellige reflects the luxurious and sophisticated flare of the mediterranean spirit of architectonical composition, employing the latin script into very baroque shapes.

Maris - Whimsical Handwritten Calligraphy $124 NEW!

35 OTF Font Files | Designer: Jeremy Dooley | Design Date: Jul 7, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/insigne/maris/

Maris is a rich, elegant script, subtly characterized by a whimsical handwritten calligraphy. The family is composed of six different weights, each one bolder than the last but all equally as filling. The lighter weights move delicately through each line, showing a gentle strength in their smaller frame. The six weights from these lighter forms to the bold include some textured versions such as jean, wood, print, rough and halftones. The Maris family performs superbly in custom headlines and logotypes. Turn on Swash, Stylistic or Contextual Alternates for even greater emphasis. Opentype lets you "auto-magically" swap out letter sets with alternate versions and creates the visual diversity that gives you the one-of-a-kind look of custom lettering. It also uses OpenType features to assist with letter flow. When you choose to make use of its open-type decorative glyphs, your headlines will dazzle. For the greatest benefit, grab the entire Maris family. Thanks to its variety of styles, Maris makes it easier for you to design. With this large font family, solve your design problem with just one typeface.

Fat Pleasure - Extremely Wide Serif $15 NEW!

Designer: JAF 34 | Publish Date: Jul 8, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/jaf-34/fat-pleasure/

Fat Pleasure is extremely wide serif typeface inspired by the modern consume society and is suitable for posters, magazines, massive headlines (also for a web presentation) and so on. For dynamic of ultra hairy and massive fat strokes is not suitable for comprehensive text. Fat Pleasure is also inspired and constructed in the sense of modern type design. Even though Fat Pleasure is pure and clean serif font is very catchy a fresh.

Argone - A Handmade, Organic, Display Family $72

4 OTF Font Files | Designer: Deepak Dogra | Design Date: Aug 6, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/deepak-dogra/argone/

Argone is a handmade, organic, display family and comes in four weights.

Undergrunge Tornado - Grunge Style Hand Drawn Font NEW!

OTF Font File | Designer: Roland Hüse | Design Date: Jul 2, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/myhandwritings/undergrunge-tornado/

This is another grunge style hand drawn font I created with a poster marker. Including all Latin language extensions, Cyrillic and Japanese Hiragana and Katakana. It’s an all caps font. I drew a couple versions of each letter then picked one of them for lower and one for uppercase so they can be combined for better flow and more even more natural look.

Dusan Script - Graceful Flow & Idiosyncrasies

2 OTF Font Files | Designer: Dusan Jelesijevic | Design Date: Jul 2, 2015

http://www.myfonts.com/fonts/tdf/dusan-script/

The Dusan Script font family is a wonderful set of handwriting script fonts that captures the graceful flow and idiosyncrasies of Dusan’s penmanship. The Dusan Script font family has an airy, natural personality, with open counters and features that make it legible at small and large sizes. Dusan Script Family consists of two fonts, Regular and Bold, and offers a fresh handwriting style to grace invitations, cards, newsletters, advertisements and correspondence.

Mastadoni - A Super Bold Headliner in 5 Optical Grades $100 NEW!

10 OTF Fonts | Designer: Dave Rowland | Design Date: Jul 4, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/schizotype/mastadoni/

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 Schizotype favorite “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.

Alebrije - Diagonals Without Upper Outer Serifs $332

42 OTF Fonts | Designer: Frantisek Storm | Design Date: Jul 4, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/storm/alebrijes/

I have a lot of “regular” fonts, but from time to time I need something more emotional for exceptional musical projects. This typeface was first used in spring 2015 for a certain CD cover and merchandising. Its sharp serifs and details fit engravings perfectly. As the work went on, the extreme styles raised from the need to illustrate a bizarre nature of other music genres I’m involved in. Lyrics in booklets are usually printed in very small sizes so I decided to cut those always disturbing upper outside serifs at diagonal letters “W, w, v” or “y”, and moved them to the bottom. Alebrijes has a total of 42 cuts with SmallCaps, several sorts of figures and the usual array of ligatures. Ready for any poster, record cover, branding or catalogue design and shorter texts. The name “Alebrije” [alebrixe] was chosen when designing the Italics: By coincidence, in May 2015, I found myself in Oaxaca, Mexico, influenced by its wonderful crafts and especially those animal sculptures called Alebrijes.

Stratus - Neutral Sans-Serif Family $50

6 OTF Font Files | Publisher: Marc Foley | Publish Date: Jul 4, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/marc-foley/stratus/

Stratus is a neutral sans-serif family, consisting of six weights. The design is heavily influenced by '90s screen fonts. It has been tested and developed using a range of different operating systems and web browsers. You'll find it works incredibly well at small sizes and user interfaces.

Nephrite Newest Font Collection for Magazine, Book and Brandings $160

14 OTF Fonts | Designers Paul Chen | TURKISH Language Support

Nephrite is a clean and soft family of 14 styles, 7 weights and italics. 

Recommended for text, magazine, book, logo and brandings.

OTF Font File | Designer: Jakob Fischer | Design Date: Jun 26, 2015

http://www.myfonts.com/fonts/pizzadude/cherily-blussom/

Cherily Blussom was made with an inky pen, and little was done to correct the blurry edges. That’s why Cherry Blussom stands out in such an authentic way! Comes with both ligatures and alternates - combine them and spice up your text!

Shenandoah - Lovely, Flowing & Professional Typography $59

OTF Font File | Designer: Mans Greback | Design Date: Jun 25, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/mawns/shenandoah/

Shenandoah is a beautifully crafted script by Måns Grebäck, and is made for lovely, flowing and professional typography. Shenandoah has bold, crisp lines, giving it a rustic and retro effect whilst keeping it sleek and modern.  This typeface and a bit of love could be used for fashion, apparel, stationary, magazines, typography, film, books and marketing!

Prillwitz Pro - Enthusiasm for the Greek & Roman $588

12 OTF Font Files | TURKISH SUPPORT

Designers: Johann Carl Ludwig Prillwitz, Ingo Preuss | Publish Date: Jul 1, 2015

http://www.myfonts.com/fonts/preusstype/prillwitz-pro/

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after.

The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. '‘‘Prillwitz Press’’' combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes.

This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1).

The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font.

The type family has all important characters for an efficient and typographic high quality work.

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(1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). 

Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

Scion - Toyota SCION Logo Inspiration for Typeface $149

5 OTF Fonts | Designer: Alex Kaczun

http://www.myfonts.com/fonts/typeinnovations/scion/

‘Scion’ is an original design by Alex Kaczun. The inspiration for the typeface came from the Toyota SCION logo, which bears its name. In Alex’s own words, "I loved the simplicity, proportions and hi-tech look of the logo and decided to create an entire new design series based on its unique look". The fonts come in five flavors: thin, light, regular, bold and black. All the font weights were designed systematically on tabular widths so that the user can make adjustments to overall type color without changing the line length. In addition, Alex Kaczun has provided us with several alternate glyph substitions to further enhance the overall appeal of this contemporary new design. The large Pro font character set, which supports most Central European and many Eastern European languages, makes this typeface series ideally suited for display copy as well as text composition. In the near future, Alex plans to include a narrow, compressed and ultra expanded, along with true-drawn italic variations to further expand the possibilities of this great new display series.

Lamiar - Handwritten Decorative San-Serif $54

4 OTF Font Files | Designer: Julia Martinez Diana | TURKISH SUPPORT

http://www.myfonts.com/fonts/antipixel/lamiar/

Lamiar is a decorative, fun, san serif handwritten font. This rounded monoline font will add an fancy, weird and unique look to your work.  It’s recommended for display usage for its glyph quality.

Enamela - Condensed Sans Serif Lettering on Vitreous Enamel Signage Dating $60

6 OTF Fonts | Publisher: K-Type | TURKISH SUPPORT

http://www.myfonts.com/fonts/k-type/enamela/

ENAMELA (rhymes with Pamela) is based on condensed sans serif lettering found on vitreous enamel signage dating from the Victorian era and widely used in Britain for road signs, Post Office signs, the plates on James Ludlow wall postboxes, railway signs and direction signs, as well as for circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. In addition to the Medium and Bold weights found on old enamel signs, a new Regular weight and the addition of a convincingly classic lowercase to match the original capitals, make Enamela Condensed a flexible and highly usable typeface. Each weight has a complementary and complimentary faux italic.

The roots of the lettering date back to Victorian times; a Cherry Blossom Boot Polish enamel advertising sign on the Advertising Antiques website is estimated to date from 1880. Between 1908 and 1915 the lettering was used on ‘bull’s eye’ station signs for the London Underground up to the introduction of Johnston’s Underground type. I initially saw a similarity to the Charles Wright car registration plate font (see K-Type Mandatory) with its quirky terminals stemming from the compression of geometric type. Alan Brignull noted the similarity to a Victorian wood type called Runic, though the terminals on C, G, J and S slope in the opposite direction. The precise origin and identity of the typeface continues to prove elusive. In search of an existing digital font, I sought the help of Luc Devroye in Montreal who identified the closest match as Czech designer František Storm’s Enamelplate D, similarly condensed with the correctly sloping terminals. However, many characters differ substantially from those in local source material, perhaps indicating that continental European enamel lettering varied from its British counterpart, though even in Britain a fair degree of variation can be observed, draughtsmen evidently feeling free to amend the basic letter shapes and exercise individual taste. The middle diagonals of an uppercase M usually extended down to the baseline, becoming rather heavy and congested, but some draughtsmen started following the Gill /Johnston example of a higher pointed vertex, and this more elegant option has been chosen for the new Enamela typeface, though the alternative M with lower vertex is also provided at the Alt-M (µ) keystroke on a Mac, or Alt-0181 on Windows. While some designers preferred a plain vertical throat on the G, others added a crosspiece to help distinguish it from a C, and the latter is the form chosen for the Enamela fonts. However, the G without the horizontal is also present, assigned Unicode FF27 (full width capital G).

Workhorse - Sign Painter’s Gothic $65

2 OTF Fonts | Designer: Greg Reid, Charles Borges de Oliveira

http://www.myfonts.com/fonts/charlesborges/workhorse/

Workhorse is a Sign Painter’s Gothic developed by Master Sign Painter Greg Reid. Workhorse captures the true essence of hand lettering. From the tapered waists to the elegant snaps of the brush; these elements present a warmth unseen in today’s mechanically stiff Gothics. Greg Reid and Charles Borges de Oliveira collaborated to bring this truly one of a kind typeface to fruition. With the power of Open type, Workhorse utilizes Contextual Alternates to create random variations of the capitals and lowercase letters. This allows your text to have subtle differences in the letters without losing form which helps to create an honest hand lettered look. This feature can be turned on or off to suit your individual style. You also have the ability to manually choose the glyph variations from the glyph pallet to help you create one of kind designs. Both versions of Workhorse feature complete variations of the capitals and lowercase letters (56 total), Small Caps and six alternates. The Small Caps are not just the capitals scaled down. They have been designed as a unique second set that adjusts the stroke thickness to match the existing letters, creating what we like to refer to as “Real Small Caps”. Workhorse is a timeless classic that can be used from early Americana advertising all the way up to present day modern use.? No matter how you use Workhorse it always looks and reads well.

Outcast - Heavy Grunge Typeface $50

4 OTF Font Files | Designer: Patrick Griffin | TURKISH SUPPORT

http://www.myfonts.com/fonts/canadatype/outcast/

Outcast puts the whole grunge font problem to rest by eliminating repetition. Here we have eight variations on each character (4 all cap fonts), so there is no more need to use the same character twice in any display setting. You have the main interchangeable fonts, then you have Outcast Pro — an amalgamation of all four fonts, synched together in one file and programmed with a contextual alternates feature that randomizes setting on the fly. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. For those end-of-days shirts and placards everyone is eager to design now. Because true grunge never repeats itself.

Rit Graph - For Architects & Engineers $40

2 OTF Fonts | Designers: Kawisara Vacharaprucks | Publish Date: Nov 28, 2014

http://www.myfonts.com/fonts/stawix/rit-graph/

Rit Graph has been revived from old style font template often used by architects or engineers. The design of Rit Graph is casual yet sophisticate with a slanted proportion and little details of rough edges from writing tools.

Garabato - Scripts & Handwriting $35

OTF Font File | 

http://www.myfonts.com/fonts/jonahfonts/garabato/