Katie Foskett

Victorian Orchid is a gorgeous vintage flower.

Victorian Orchid is a beautiful, organic serif font family available for both text and display.
Its bizarre serifs for A and other diagonal letterforms came from decorative types and letterings in old Victorian era.
These unusual serifs support and enhance the horizontal flow of the eyes and vertical alignments.
Very eye-catching lowercase g also came from the Victorian era and this is one of the most dramatic letterform of this font.
Lowercase such like n and d also have horizontal serifs which designed in the same theory.

Victorian Orchid is somewhat organic, humanistic and soft-impression font like Transitional Serif as typified by Times New Roman.
But at the same time, this font has horizontal serif and vertical stressed letterform like Modern Serif. They make this font sharp, handsome and neat.
In addition, Victorian Orchid has low contrast and the serifs are not too flat and not too coved. By them, Victorian Orchid create strong and casual impression like Slab Serif fonts.

Victorian Orchid family consist of 5 weights from Light to Bold including about 500 glyphs, international accented letters, some OpenType features.
Italics are “True” italics which designed very carefully to match Romans.

Introducing the Silver South Font Duo, a classy, contemporary pair of script and serif fonts. With a stylish didot-style serif font and a free-flowing, expressive script companion, Silver South offers beautiful typographic harmony for a diversity of design projects, including logos & branding, wedding designs, social media posts, advertisements & product designs.

Silver South Script • A clean, free-flowing script font containing upper & lowercase characters, numerals and a large range of punctuation.

Silver South Script Alt • This is a second version of Silver South Script, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option.

Silver South Serif • A classy serif font containing upper & lowercase characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Silver South Script fonts.

Script Ligatures • Silver South Script also includes 38 character ligatures. These double letters allow you to recreate a more natural, hand-drawn flow to your text.

Belle Helene is a script and symbols font based on handwritten brush letters. The name is inspired by the famous french dessert with the same name (wine cooked pears with vanilla ice cream and chocolate syrup). This soft and smooth shaped font is suitable for restaurants, cafes, shops, bakeries, menus, wedding stationary or wherever a warm and informal feeling is required. It comes with open type features such as standard ligatures and alternate end/initial letters. The symbols font has 62 cute symbols to play around with to spice up your designs. Multilingual support is included for almost all European languages (Diacriticals). Please Note! Test the font in the Font Preview before purchase.

Max Salzmann’s blackletter font released by Schelter & Giesecke in 1912 revived and spiced up with some beautiful filling and framing ornaments.

Reva is an extremely aesthetic font that will warm you up. As well as being suitable for use in every field, Reva will be a good friend in your logo designs. In addition, magazines, brochures, posters will not leave you alone in your work. Reva will represent you well thanks to the round and hot images in the paragraphs.

Ocean font offers you unique experiences for your designs. It reflects the essence of your designs thanks to its distinctive writing lines and original style. You can use Ocean font character in every field, and you can use it in magazine and catalog cover designs, poster designs.

Oddee typeface is based on the dissimilarities in personal fashions and the contradictions sparked between two schoolmates, Adolf Loos and Josef Hoffmann, the first of whom is known for his belief in finding no place for the concept of ornamentation in architecture and functional design, while the latter proposes the ornamentation could find a place within design through not being a direct force but being a contributing part to a collective aesthetical value in everyday objects.
The design process followed traces of both approaches and opinions, and tried to find their formal counterparts in letter architecture.