My goal was to make a design that might fit in anywhere,” says Jim Ford about his Quire Sans™ typeface. “I wanted it to be highly functional and sexy at the same time.” With one foot comfortably in the realm of oldstyle design and traditional book typography, and the other in evolving electronic media, the Quire Sans family does, indeed, fit in just about anywhere. As for sexy, someone once quotably wrote, “A great figure or physique is nice, but it's self-confidence that makes someone really sexy.” Yes, Quire Sans is sexy, performing confidently in virtually any setting. 2014-06-26 00:00:00.000 57.9900 F43063-S193385 42831 Neue Frutiger World Monotype https://www.myfonts.com/collections/neue-frutiger-world-font-monotype-imaging https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/279026_ed8c8093fe1ac59ebe9e3ee1d9262c8e.png Neue Frutiger World is designed for global use with an impressive range of 10 weights, from Ultra Light to Extra Black, with matching italics. It embodies the same warmth and clarity as Adrian Frutiger’s original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese. “Before Neue Frutiger World it was not an easy task for western brands to find families in Arabic, Hebrew, Thai and Vietnamese which match with their Latin,” says Monotype type director Akira Kobayashi, who led the Neue Frutiger World project. “They may find a type with closer expression, but there was no guarantee if the bold version in the non-Latin family matches the bold in their Latin. Neue Frutiger World offers a better solution.” In addition to Neue Frutiger World’s linguistic versatility, it works hard across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments. The Neue Frutiger World fonts can be paired with Monotype’s CJK fonts: M XiangHe Hei (Chinese), Tazugane Gothic (Japanese), Tazugane Info (Japanese), and Seol Sans (Korean). These were all designed to address brands’ needs to expand into Asian cultures and solve for global typographic challenges.

Introducing Gymkhana, a clean and simple sans-serif typeface that brings a touch of architectural elegance to your design. Inspired by twentieth-century American lettering, Gymkhana is the perfect typeface for your next project. Gymkhana’s clarity is immediately evident in its design. The typeface’s large x-height and generous width make it incredibly easy to read, even at small sizes. With its clear lines and easy-to-read characters, Gymkhana adds a feeling of solemn clarity and friendly professionalism to any message. But Gymkhana isn’t just easy to read; it’s also versatile. With old-style numerals, tabular (monospaced) numerals, and old-style tabular numerals in OpenType-capable applications, you can customize the typeface to suit your needs. Gymkhana comes in six weights and italics, so you can choose the perfect style for your project. Whether you’re designing a logo, a website, or a printed document, Gymkhana has you covered. So why wait? Try Gymkhana today and experience the power of clear, clean typography in your design. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

Today, we’re here to talk about Boopee, a font that’s unique in every way. You may have noticed its flaws, but let us tell you, those imperfections are what make Boopee so charming. Boopee is a personable typeface that’s messy yet easy to read. Its quirky shapes and uneven lines give it a human touch that’s hard to find in other fonts. Despite its playful appearance, Boopee remains legible and functional, making it a versatile choice for various design applications. One of Boopee’s best features is its custom ligatures. With unique letter combinations that add a touch of personalization to your designs, you can truly make Boopee your own. Whether you’re creating logos, posters, or social media graphics, Boopee has got you covered. Plus, Boopee comes in both standard and bold versions, giving you even more flexibility in your designs. Use the standard version for a subtle, playful touch or go bold for a more impactful statement. In summary, Boopee may not be perfect, but its imperfections are what make it stand out. Its personable, messy yet legible style and unique custom ligatures make it a font worth exploring. Give Boopee a try and see how it can bring a touch of charm to your designs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Kirsty, the typeface that will give your designs a cutting-edge, contemporary feel. With its sharp, Latin-serif design, Kirsty is a modern take on the classic nineteenth-century railroad lettering. Released in 2000, this typeface quickly became a favorite for its unique octagonal shape and bold, commanding presence. Now, with a proper lowercase, five weights, and obliques, Kirsty is more versatile than ever. Its sleek, angular lines make it perfect for graphic design, branding, and advertising, while the small caps add a touch of sophistication to any layout. Just be aware that not all languages are available in small caps, so be sure to check if your application supports them. Whether you’re looking to create eye-catching headlines, standout logos, or striking marketing materials, Kirsty has the style and versatility to make your designs pop. So why settle for bland, generic typefaces when you can make a statement with Kirsty? Try it out today and see the difference for yourself. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Get ready to give your designs a blast from the past with the Kenyan Coffee typeface! Inspired by the bold, blocky fonts that graced headlines in the 1960s, Kenyan Coffee is a sleek, compact typeface that exudes industrial chic. The sharp lines and innovative design of Kenyan Coffee give your message a distinctive appeal that’s sure to make it stand out from the crowd. Whether you’re designing a sleek modern logo or a retro-inspired poster, Kenyan Coffee’s seven weights and italics give you the flexibility to create the perfect look for your project. And for an even bolder statement, be sure to check out Kenyan Coffee Stencil. With its rugged, industrial look, this typeface is perfect for creating eye-catching designs that demand attention. So why settle for boring, everyday fonts when you can make a statement with Kenyan Coffee? Try it today and see the difference it makes! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Syndra, a typeface that’s as timeless as it is modern. With its unique Y2K style, this typeface boasts letterforms that seem to have come straight from a machine. You can almost feel the hum of technology when you look at it. But don’t let its cold, emotionless shapes fool you. Syndra’s tireless character set works hard to make your message sound authoritative and technical. With OpenType fractions, numeric ordinals, and plenty of currency symbols included, you’ll have everything you need to create a professional and polished look. It’s the perfect font for anything related to plastics, medications, technology, and renewable energy. And with seven weights to choose from—Thin, Extra-Light, Light, Regular, Semi-Bold, Bold, and Extra-Bold—you’ll have the flexibility to create the look and feel you want. So if you’re looking for a typeface that’s both unusual and tech-savvy, look no further than Syndra. It’s a font that’s sure to turn heads and make your message stand out in all the right ways. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Walnut—the graffiti typeface that packs a punch! This font was not designed for the faint of heart. It’s tough, rugged and unapologetic. Walnut’s gritty spray-painted look will add a raw edge to your designs that will have people taking notice. With its realistic style, Walnut looks like it just sprang off the wall, ready to wreak havoc on the unsuspecting public. It’s the perfect typeface for any design project that requires a touch of vandalism. From posters to album covers, Walnut will give your work that extra edge that will make it stand out from the crowd. But what really sets Walnut apart are its unique combos. With OpenType ligatures support, Walnut will create custom letter combinations that will appear like they were created on the fly with a can of spray paint. Each character has a distinct personality, making this font perfect for creating custom logos or headlines that demand attention. So why settle for a boring, predictable typeface when you can unleash the power of Walnut? It’s time to take your designs to the next level and make a statement with this tough and gritty typeface. Get ready to make some noise with Walnut! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Travel back in time with Yellande, the typeface that captures the essence of Montreal’s rich architectural history. Inspired by the wrought-iron ornamentation that adorns the city’s urban landscape, Yellande is a font that will transport you to a bygone era of grandeur and romance. With its elegant and sophisticated design, Yellande is the perfect typeface for any project that requires a touch of class and refinement. Whether you’re creating a travel brochure for a luxury hotel, designing a wedding invitation, or crafting a menu for a high-end restaurant, Yellande will add a touch of elegance and sophistication to your work. The swash style of Yellande is reminiscent of the flowing curves and intricate details of Montreal’s wrought-iron architecture. Its fancy capital letters will make any headline or title stand out, adding a touch of glamour and elegance to your design. So why settle for ordinary when you can elevate your design with Yellande? Let this typeface take you on a journey through Montreal’s rich history and inspire your creativity with its curled wrought-iron look. Yellande is the perfect choice for anyone looking to add a touch of elegance and sophistication to their design. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Graveblade, the heavy metal typeface that’s sharp as a knife and just as deadly. With its blackletter shapes and brutal angles, Graveblade is the perfect typeface to give your message a sense of forceful aggression that will leave a lasting impression. Featuring blade-like forms and a menacing edge, Graveblade exudes the power and intensity of heavy metal music. This typeface is not for the faint of heart—it’s for those who are bold, daring, and unafraid to make a statement. Whether you’re promoting a metal band, creating a dark and edgy poster, or designing a logo for a horror movie, Graveblade is the typeface that will take your designs to the next level. Its sharp and knifelike design will cut through the noise and make your message stand out from the crowd. So get ready to unleash the power of Graveblade and take your designs to new heights of brutal beauty. You’ve got another thing coming if you think you can ignore the force of Graveblade. Are you ready to embrace the darkness? Then grab Graveblade today and let the heavy metal typeface speak for itself. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Rev up your designs with the bold power of Hemi-Head, the square industrial typeface inspired by the classic muscle cars of the 60s and 70s. Its audacious letterforms and stylish gaps will give your message a commanding presence, instantly conveying authority and technologically superior design. With its sleek, constructivist squareness, Hemi-Head is the perfect typeface for any project that demands strength, speed, and raw power. From high-performance automotive advertising to cutting-edge tech branding, Hemi-Head delivers the perfect blend of style and substance. Available in 8 versatile weights and italics, Hemi-Head offers a wide range of options for any project. Choose the style that best suits your needs, from the light and nimble to the heavy and powerful, and add a touch of italicized style for even more visual impact. So whether you’re looking to create a design that demands attention, or simply want to add a touch of muscle car style to your next project, Hemi-Head is the perfect typeface for the job. Embrace the bold, square industrial aesthetic of the 60s and 70s, and let your designs roar with power and precision. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Picture this: you’re in the heart of a lush, vibrant rainforest. The leaves rustle in the breeze, and the vibrant colors of the flora and fauna surround you. That’s exactly the feeling you’ll get when you use Rainforest, our small caps display typeface inspired by the Jurassic Park logo. Rainforest is a nod to the classic typefaces of the early 20th century, like Rudolph Koch’s Neuland and Monotype’s Othello. These fonts captured the spirit of the Art & Crafts movement with their woodcut prints, and they were particularly popular in themes depicting jungles and tropical islands. But Rainforest takes that classic style to the next level with its sleek and modern design. The typeface can be used in a variety of ways: plain, outlined, or as a separate thin-line layer. It’s versatile, stylish, and sophisticated—perfect for any project that needs a touch of class. Whether you’re designing a poster for a tropical vacation or creating an eye-catching logo, Rainforest will make your work stand out from the crowd. Its candid, natural style will transport you straight to the heart of the rainforest—all while maintaining an air of elegance and sophistication. Give Rainforest a try today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Aqueo™ is a versatile display font family inspired by the cylindrical wireframe of a water glass. The one-sided round corner details added a contemporary feel to this unique typeface. It comes in 6 weights and 12 styles. To ensure the accuracy of the letterforms, we painstakingly drew a master set for each weight. And with over 1,350 glyphs each, Aqueo™ fonts support most Latin-based languages and feature an extensive set of stylistic alternates; The standard uppercase set takes more traditional forms, while the alternate uppercase set sports unorthodox lowercase forms. The standards exude confidence and dependability yet are friendly and approachable, and the alternates elicit more fun, quirky and whimsical. The More Opentype Features, the More Zing for Your Design Projects. Aqueo™ Display Sans Serif comes loaded with Opentype features such as case-sensitive marks, punctuations and mathematic symbols. It also has an extensive set of discretionary ligatures, stylistic alternates, and over 80 essential UX/UI icons, each in three design options. These various Opentype features help improve your user experience, streamline your workflow, and unlock a broader range of typography details you can choose for your design. If you’re looking for a unique contemporary typeface, try Aqueo™ on your packaging design, logo design, infographic, print design, store signages, and UX/UI projects today! To find out more about Aqueo™ Opentype features and type specimens, please visit https://r9typedesign.com/aqueo-font-features-specimen

A practical sans serif need not appear dry, constructed, or derivative. It can excel in its sensible role and yet possess a distinct flair. Iskra (spark or flash) is a new sans serif designed by Tom Grace. It was conceived to challenge the limits between utilitarian and decorative. Sporting a low-contrast profile, it is a study of bridled energy in the Cyrillic and Latin scripts. Its eye-catching forms are an oblique tribute to the less-predictable style of brush lettering, and contain daring, elegant curves, economical proportions, and a slight top-heavy asymmetry. Its warmth comes from the subtle emphasis on the structures and details of individual letterforms, whereas its solidity is demonstrated through its balanced rhythm over long spans of text. Each font supports over 75 languages and is hand-tuned for a pleasing legibility and aesthetic both in print and on screen. This type family makes an excellent choice for presentations, articles, branding, and advertising. Available in 14 styles, Iskra represents a fresh, stimulating, forward-looking perspective on how we see both the vitality of the particular letter and the overall harmony of text. Iskra is available in three different character repertoires: Iskra, complete set — Iskra CYR, Cyrillic-based subset with a Latin supplement — Iskra Cyr, Latin-based subset. Both the LAT and CYR series conform to most standard codepages used by typical software covering their respective scripts. All three series have similar OpenType functionality."

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Casagrande Collection has been designed in 2020 by the Italiantype Team (Manuel Alvaro, Valentino Coppi and Mario De Libero), working in close collaboration with Italian lettering artist, illustrator and calligrapher Alberto Casagrande, with help from the Zetafonts Team (Francesco Canovaro, Andrea Tartarelli and Cosimo Lorenzo Pancini). The goal of the project was to use as inspiration Alberto's colorful, vintage themed digital illustration style to develop a suite of closely related typefaces that, used together, would allow designers to replicate the nostalgic charme of Italian poster and product design from the thirties and the forties. Two color overprints, coarse dithering, handmade calligraphy, reminiscences of art deco, hints of modernism and pop culture references: all this and more mixed in a exuberant and playful collection, created with illustrators, poster artists and book cover designers in mind. The final product is 24-font package with six display families with styles varying from the thirties-inspired Antifascista (3 weights + 3 dithering weights) and Deco (3 weights + 3 inline weights), to the modernist Casabau (5 weights), to the geometric Grind (4 widths), to the vintage elegance of the two script families, Reclame and Casatiello. The collection is complemented by a two-color icon set font, Casagrande Ornaments, allowing any designer to easily explore the creative possibilities of this incredibly powerful creative collection. Please Note: Casagrande Antifascista Ombra simulates fine dithering and may be processor intensive for some older computers. Use Casagrande Antifascista if it slows down your system.

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

Microbrew Unicase is the latest addition to the Microbrew family, a versatile retro display family. Microbrew Unicase has 14 individual styles plus a very functional set of catchwords, and a fresh and eclectic set of retro-style ornaments. Microbrew Unicase sports a nice mix between wood type poster style, and vintage letterpress. The more detailed styles work well at large sizes, and the cleaner styles add legibility at smaller sizes. Microbrew Unicase is an all caps display font, but the lowercase act as alternates. The uppercase are all uppercase letter forms, while the lowercase is mixed. Type in all caps to be a buzz-kill. Mix upper and lowercase to have a little fun. Or type in all lowercase to have a party! (more informal) For super-easy alternates, just mix uppercase and lowercase letters. To add to the realism, Microbrew Unicase includes double-letter ligatures. Microbrew Unicase also includes a set of extremely intentional and eclectic ornaments and symbols. Designed to give a vintage feel, the ornaments and symbols compliment Microbrew nicely to round off the family. The ornaments also include old style numbers, and lots of retro symbols. Don't let the name fool you, Microbrew Unicase is very versatile and works great for almost any subject matter, including weddings, birthdays, restaurants, coffee shops, music, and many more. Opentype features include automatic fractions, subscript numbers, superscript numbers, and double-letter ligatures.

Elsain is a serif family font that is very unique on the edges with different angular styles, the spacing between these fonts is made very tight to deepen the character of this font. This font is great in layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, invitations or anything else. Elsain Serif Family has many features such as Multilingual support, has 14 font families from thin to thick and also 2 variables. This font is also available in Cyrillic to complement many other languages. Not to forget it is also available in Greek form, and some other accessories. This completeness can be used in various letters from various countries such as English, Indonesian, Afrikaans, Basque, Breton, Catalan, Danish, Dutch, Finnish, French, Gaelic, German, Icelandic, Irish, Italian, Norwegian, Portuguese, Saami, Spanish, Swahili , SwedenCroatia, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian, Slovak, Slovenian, Turkish, Avar, Balkar, Belarusian, Bulgarian, Chechen, Erzya, Ingush, Lezgian, Macedonian, Moldavian, Ossetian, Russian, Serbian, Ukrainian, Greek and others. What do you get: Elsain Serif Regular and Italic Elsain Variable Regular and Variable Italic TTF. Accessible in Adobe Illustrator, Adobe Photoshop, and Adobe InDesign, it even works in Microsoft Word. Fully Encoded Characters are accessible without additional design software. Images used: All photos/images/vectors used in the preview are excluded, for illustration purposes only. Feel free to follow, like and share. thank you very much for checking my store!

Discover an exquisitely elegant modern typography pairing with the Simple Serenity Font Duo. This beautiful set combines a contemporary take on a classic serif with a clean & modern fine calligraphy script—creating the perfect pair for stunning logos, wedding designs, quotes, display text and more. This font family includes; Simple Serenity Script • A clean, elegant hand-drawn script font containing upper & lowercase characters, all punctuation and numerals. Contains 50 ligatures to help the text flow naturally and add a custom-made feel. Includes 9 alternate characters for d,k,f,g,h,i,j,t,y which have extra flourishes. Also includes beginning and end swashes for every lowercase letter. Simple Serenity Serif • A modern take on a classic serif font. Contains uppercase-only characters, all punctuation & numerals. Includes 14 ligatures for extra flair and uniqueness, as well as 10 alternate characters for Q,A,M,E,R,K,U,F,H,W. Using Ligatures and Alternates; Both fonts contain a number of 'Standard Ligatures' (unique double-letter pairings) and 'Stylistic Alternates' (alternative letter designs) to provide you with more customisation options. Make sure these functions are switched on in your software in order to access these characters. You can also access these characters via a Glyphs panel. This is available on most Adobe software & Affinity Designer. Language Support; Both fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Icelandic, Slovenian

The main inspiration is from Art Nouveau which flourished in Europe at the end of the 19th and beginning of the 20th centuries. This design included furniture (Majorelle, Lalique) and architecture (Victor Horta, Henry Van de Velde, Gaudi, Alfons Mucha). But Hector Guimard remains the favorite for all aspects of its art and, of course, its typefaces used on the Parisian Metropolitan posters. In particular, the various kerning of the various letters he used to make the poster a whole design from singular designs, leading to numerous variations. As a designer, I first worked with the individual glyphs Hector Guimard designed and I discovered that they vary constantly from a poster to another, depending on the overall result he was looking for. Another difficulty in transferring his design to printing is that there was no lower case. I was excited to create the whole font from the original designs of Hector Guimard, incorporating its variations and "crazy kerning". After several attempts, it appeared to be impossible to include all variations and I slightly moved to my own new design as a complete font, upper and lower case, with kerning. I voluntarily limited the ascenders and descenders to the usual typography so that it can be used from 10 / 12 points. This version can be used to edit letters and books in the context of Art, specially Art Nouveau and Art Deco of course, posters of any kind.

Soho is the latest addition to the growing range of typefaces from Sebastian Lester. This grand opus of a project resulted in a typeface that comprises nine weights and five widths of precision engineered OpenType. 40 fonts, 32,668 characters and 24 OpenType features. Hot on the heels of the popular Neo Sans and Neo Tech range, and his first typeface release Scene, Soho represents three years of work by Lester. As a type designer I'm preoccupied with finding ways in which I can address modern problems like good legibility in modern media, and create fonts that work precisely and efficiently in the most technically demanding of corporate and publishing environments." Slab serif typefaces are enjoying something of a renaissance, offering versatility whether for corporate identity, product branding, text or display use. With 40 weights to choose from Soho gives designers endless possibilities from the ultra chic lines conveyed by the lighter weights to the rock solid statement made by the heavier weights. Soho is cross-platform compatible. The Pro version provides extended language support for Central European languages. Used in conjunction with software applications that support OpenType many useful features like "stylistic sets" can be leveraged -- in which a wide variety of alternative characters can be introduced at the click of a mouse button giving one font several "tones of voice" from conservative to cutting edge. The wide range of glyphs includes ligatures and small caps."

Yafferbuddle comes in the category of 'a funky fun font' with a pleasing rounded shape, but it still has the extensive range of features you'd expect in a modern OpenType font. It's especially useful for posters, headlines and comics. There's 5 weights and a Shadow version in Regular and Italic, making 12 fonts in all. To let you know what's in the font that you might otherwise not suspect . . . With Discretionary Ligatures on, you get special characters if you type Mc St. Rd. Bd. Ave. c/o No. (p) (P) - include the full-stop/period where given. With Stylistic Alternates switched on, you get plenty of extra characters - including a WiFi symbol (type Wifi or WiFi) / bullet numbers instead of ordinary numbers / that different U-dieresis / special characters for c/o No. Mc / an upside down ~ / a huge bullet, and different forms for cent, dollar, percent, per-thousand. As you'd expect, there's all the accented characters for all Western European scripts using Latin letters, and standard ligatures, plus other Open Type features including Class Kerning, Slashed-Zero, Historical Forms, Sub- and Superscript numbers, fractions for halves, thirds and quarters, Ornamental forms giving bullet numbers, etc. There's even some of the more obscure stuff like the main mathematical operators, symbols like card-suits and male/female signs and so on, schwa, U-horn O-horn, and there's more if you can Access All Alternates. Much will depend on what features your software recognises.