I have been walking around the streets of Bangkok with my good old film camera taking photos the way like back in the day. I think there is something magical and authentic in it. Guess what, the first day I went out with that camera I stumbled upon a place is called Fotoclub BKK they develop film rolls how cool is that! I shoot all the 36 photos at the Silom area, taking random photos most came out off centred subject, wrong settings, blurry just like the way I wanted! Soon after I was working on a handwritten script that is a perfect match to the overall topic of my stay in Bangkok so I named it after this exceptional adventure I have had here. The font contains all European diacritics and special characters, some double letter ligatures and stylistic alternates for better flow and more organic and natural look. I hope you guys like it and it will add some spiciness to your next creative project! Any feedback or questions, character request please don't hesitate to contact me either in email or on social.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Soleil, designed by Wolfgang Homola, is a geometric sans serif typeface. Unlike most existing geometric sans serif typefaces, it has asymmetrical counters, making it look fresher, more dynamic and more contemporary. Simple geometric forms – such as the circle or the square – played a certain role in the design of the letterforms, but in order to introduce more fluidity into the rather stiff and rigid concept of geometric sans serif typefaces, a lot of optical corrections were necessary. Soleil is based on the modernist ideas of simplicity, clarity and reduction to essential forms. Yet its letter shapes are not the result of geometric construction, but of a design process that brings together simplicity and fluidity, clarity and rhythm. Soleil has a rather large x-height, making it legible also in small sizes or from a bigger distance. The typeface family consists of six weights. The Opentype version also allows for the implementation of typographic features such as Small Caps, lining and old-style figures, both tabular and proportional, ligatures, alternate characters, case-sensitive variants and fractions. Soleil offers a wide range of potential applications: signage and wayfinding systems, book and magazine design, branding and corporate publications.

What makes "Logopedia Next" unique is that it has a strong body, upper and lower case letters are the same size and work in perfect harmony. All letters in the character have "alternatives" in various numbers. This feature provides you variety in your designs. It is possible to take your designs to the next level by using "Logopedia Next". "Logopedia Next" is ideal for especially logo design, advertising and packaging, branding and creative industries, banners and billboards and signage as well as web and screen design. "Logopedia Next" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Logopedia Next 500 Regular” forms the central point. Logopedia Next comes 3 weights and italics total 6 types. The family contains a set of 543 glyphs. Classes and Features, Stilistic Style, Fractions and Old Style Numerator just one touch easy In all graphic programs. Logopedia Next"" is the perfect font for web use. Be sure to check out the other siblings of "Logopedia". - Logopedia Now - Logopedia Now Soft - Logopedia Next - Logopedia Next Soft You can enjoy using it.

Creatives understand the compulsion to make something of worth. And each creative person has a toolbox they grab from often. Letterboard Lite is the narrow geometric sans that can headline or support whatever project is next on your list — the one unfussy tool you’ll use time and again. ‍ With its geometric shapes, Letterboard is a ground-floor sans that stabilizes the foundation upon which everything else will be built. It cements the context unobtrusively without begging to be acknowledged. Pair Letterboard with any script typeface and it will highlight that script’s qualities, whether capricious or elegant. Pair it with a serif or slab serif for an obvious change of tone: With a modern slab, trends will be respected, but it will act more coy with an old-school chunky slab. Letterboard’s geometry is easily subsumed as a partner to a range of serifs, from classics to the latest releases. These qualities and its narrowness make it easy for Letterboard to be used as a large display font in headlines or branding applications. ‍ Letterboard comes with 270 characters necessary for setting over 150 Latin-based languages: A–Z with diacritics, lining numerals, and the most common punctuation and symbols.

ITC Avant Garde Gothic¿ was designed by Herb Lubalin and Tom Carnase in 1970. They based it on Lubalin¿s logo for Avant Garde Magazine - an exciting construction of overlapping and tightly-set geometric capitals. ITC Avant Garde is a geometric sans serif; meaning the basic shapes are constructed from circles and straight lines, much like the work from the 1920s German Bauhaus movement. The early versions of ITC Avant Garde became well-known for their many unique alternates and ligatures that still conjure up the typographic aura of the 1970s. These fonts contain the basic alphabets (without the old unusual ligatures). Still strong and modern looking, ITC Avant Garde has become a solid staple in the repertoire of today's graphic designer. The large, open counters and tall x-heights seem friendly, and help to make this family work well for short texts and headlines. The condensed weights were drawn by Ed Benguiat in 1974, and the obliques were designed by Andr¿ G¿rtler, Erich Gschwind and Christian Mengelt in 1977. ITC Avant Garde¿ Mono is a monospaced version done by Ned Bunnel in 1983.

Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Optimized for web, tablet and smartphone applications. Also “Bosphorus” is a perfect screen display font. Technical information: “Bosphorus” provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bosphorus 50 Normal 53 Regular” forms the central point. The first figure of the number describes the stroke thickness: 51 Thin to 56 Black. 5 Width / 6 Weights and italics also “Bosphorus” total 60 types. The family contains a set of 530 characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. UPDATE: 1- Some glyph unicode error correction / 04-06-2018 - Euro Unicode - Idottacent Unicode - Oganec Unicode - Middot Unicode 2- New Version 2.0 / 25-06-2021 You can enjoy using it.

Have you ever played with Lego™ and built letters? With Billund Side and Billund Top you can do it again and create colourful headlines on your Mac or PC. Billund is a font-system consisting of the two base-fonts Billund Side Outline and Billund Top Outline, extended by layer-fonts for one or five colours. Use the Outline-fonts alone to get »transparent« letters in one colour, use it with the Fill-fonts to fill the whole letter with one colour, or use the five Colour-fonts to get colourful letters in every colour you want. Billund contains cyrillic and greek glyphs and can be used for nearly a hundred languages. To expand the typographic possibilities, small caps, old style figures, numerals for small caps (c2sc), three stylistic sets, different symbols, forms, standard- and discretionary ligatures have been added, furthermore contextual alternates to avoid colliding letters. Each Billund-font contains 870 glyphs and more than 1600 kerning-pairs. Billund is named after the city of Billund (Denmark), where Lego™ was invented, the Lego™-headquarter still resides and the first Legoland™ theme park was opened in 1968 and still exists today.

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

In August of 2009, I was commissioned by Zoo York, a New York City based skateboard company, to visit Buenos Aires to study and document street typography. As soon as my taxi driver took the bustling street Entre Ríos, it was clear that the city and I were going to be good friends. Many of the independently owned businesses on Entre Ríos are adorned with handmade signage. These signs are painted in a style called Fileteado which is a century-old Argentinian type of lettering and floral ornamentation. Nowadays, Fileteado is still a prominent part of the city’s landscape, coloring the façades of restaurants, bars and coffee shops. Calaveras and Diablitos are two new typefaces that were inspired by Fileteado. Stylistically, the fonts are a return to a rhythmic and playful sensibility reminiscent of Vitrina and Cuba, two fonts that I designed in 1996. Along with dynamism and dance, these new fonts incorporate a rigor and functionality essential to labelling any font a ‘workhorse.’ The names Calaveras and Diablitos, came from the name of a song by the infamous Buenos Aires rock band, Los Fabulosos Cadillacs. —Pablo A. Medina

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

In August of 2009, I was commissioned by Zoo York, a New York City based skateboard company, to visit Buenos Aires to study and document street typography. As soon as my taxi driver took the bustling street Entre Ríos, it was clear that the city and I were going to be good friends. Many of the independently owned businesses on Entre Ríos are adorned with handmade signage. These signs are painted in a style called Fileteado which is a century-old Argentinian type of lettering and floral ornamentation. Nowadays, Fileteado is still a prominent part of the city’s landscape, coloring the façades of restaurants, bars and coffee shops. Calaveras and Diablitos are two new typefaces that were inspired by Fileteado. Stylistically, the fonts are a return to a rhythmic and playful sensibility reminiscent of Vitrina and Cuba, two fonts that I designed in 1996. Along with dynamism and dance, these new fonts incorporate a rigor and functionality essential to labelling any font a ‘workhorse.’ The names Calaveras and Diablitos, came from the name of a song by the infamous Buenos Aires rock band, Los Fabulosos Cadillacs. —Pablo A. Medina

What makes "Logopedia Now" unique is that it has a strong body, upper and lower case letters are the same size and work in perfect harmony. All letters in the character have "alternatives" in various numbers. This feature provides you variety in your designs. It is possible to take your designs to the next level by using "Logopedia Now". "Logopedia Now" is ideal for especially logo design, advertising and packaging, branding and creative industries, banners and billboards and signage as well as web and screen design. "Logopedia Now" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Logopedia Now 500 Regular” forms the central point. "Logopedia Now" comes 3 weights and italics total 6 types. The family contains a set of 543 glyphs. Classes and Features, Stilistic Style, Fractions and Old Style Numerator just one touch easy In all graphic programs. "Logopedia Now" is the perfect font for web use. Be sure to check out the other siblings of "Logopedia". - Logopedia Now - Logopedia Now Soft - Logopedia Next - Logopedia Next Soft You can enjoy using it.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Optimized for web, tablet and smartphone applications. Also “Bosphorus” is a perfect screen display font. Technical information: “Bosphorus” provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bosphorus 50 Normal 53 Regular” forms the central point. The first figure of the number describes the stroke thickness: 51 Thin to 56 Black. 5 Width / 6 Weights and italics also “Bosphorus” total 60 types. The family contains a set of 530 characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. UPDATE: 1- Some glyph unicode error correction / 04-06-2018 - Euro Unicode - Idottacent Unicode - Oganec Unicode - Middot Unicode 2- New Version 2.0 / 25-06-2021 3- Variable / 18-02-2022 You can enjoy using it.

The design of Sabon® Next by Jean François Porchez, a revival of a revival, was a double challenge: to try to discern Jan Tschichold´s own schema for the original Sabon, and to interpret the complexity of a design originally made in two versions for different typecasting systems. The first was designed for use on Linotype and Monotype machines, and the second for Stempel hand composition. Because the Stempel version does not have the constraints necessary for types intended for machine composition, it seems closer to a pure interpretation of its Garamond ancestor. Naturally Porchez based Sabon Next on this second version and also referred to original Garamond models, carefully improving the proportions of the existing digital Sabon while matching its alignments. The new family is large and versatile - with Roman and italic in 6 weights from regular to black. Most weights also have small caps, Old style Figures, alternates (swashes, ligatures, etc); and there is one ornament font with many lovely fleurons. The standard versions include revised lining figures that are intentionally designed to be a little smaller than capitals. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints

What makes "Logopedia Next Rounded" unique is that it has a strong body, upper and lower case letters are the same size and work in perfect harmony. All letters in the character have "alternatives" in various numbers. This feature provides you variety in your designs. It is possible to take your designs to the next level by using "Logopedia Next Rounded". "Logopedia Next Rounded" is ideal for especially logo design, advertising and packaging, branding and creative industries, banners and billboards and signage as well as web and screen design. "Logopedia Next Rounded" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Logopedia Next Rounded 500 Regular” forms the central point. "Logopedia Next Rounded" comes 3 weights and italics total 6 types. The family contains a set of 543 glyphs. Classes and Features, Stilistic Style, Fractions and Old Style Numerator just one touch easy In all graphic programs. "Logopedia Next Rounded" is the perfect font for web use. Be sure to check out the other siblings of "Logopedia". - Logopedia Now - Logopedia Now Rounded - Logopedia Next - Logopedia Next Rounded You can enjoy using it.

Devinyl is a monolinear typeface family which mixes different styles. The typeface is entirely composed in capital. The uppercase is inspired by old grotesk from late 19th and the lowercase is a humanist-sans. This is a monoline typeface and the variety of style make it perfect for magazine and poster design. Download the PDF here. Devinyl comprises a family of 8 styles, from the art-deco inspired ‘line’ to the ‘stencil’, often used in street art. All the fonts share the same base. Devinyl family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

This is my new font, a classic calligraphic script, made with a thick brush. The font is super versatile and suitable for any project. You want to post on instagram? The menu in the cafe? A banner or sign on the website? It's easy! Classic never gets old, your design will always look fresh. And one more thing, this font fully supports Cyrillic! Oh Yes, this is cool news for Russian-speaking designers. Fresh font in the piggy Bank, and satisfied customers. --- Здравствуйте, друзья. Это мой новый шрифт, классическая каллиграфия толстой кистью. Шрифт супер универсальный и подойдёт для любых проектов. Хочешь пост в инстаграм? Меню в кафе? Баннер или надпись на сайт? ЛЕГКО Классика никогда не стареет, ваш дизайн будет выглядеть свежо всегда И еще одна фишка, этот шрифт полностью поддерживает кириллицу! О да, это крутая новость для русскоязычных дизайнеров. Свежий шрифт в копилку, и довольные клиенты --- Test it out below to see how it could look for your next project! Includes: Ful Cyrillic support Latin language support Uppercase and lowercase Numbers and punctuation Ligatures Check out my blog: https://www.instagram.com/zloillev pinterest.com/dmitriychirkov7

The typeface Fry was developed in 2008 specially for the Sky-Fish company (fish and seafood dealer). This type is designed for small texts and has a friendly and a fairytale historic flavor. Fry takes the openness and dynamism of humanistic sans serif, the simple and softness of lubok’s letters (primitive style) and the fluidity of shallow marine fry. Despite its funny style, Fry works well even in the 5 point size. In large sizes Fry demonstrates its originality, vivacity and softness, in the small characteristics become less visible, and Fry’s readability becomes more important. This makes the typeface suitable for many tasks of typography. The typeface includes extended set of Latin, Cyrillic and Greek, old style and lining figures, historical alternates and special local features. The combination of lubok’s aesthetics and funny dynamic forms make a nature of Fry. Fry was exhibited on Svjato Cyrillic (Kharkov, Ukraine) festival in 2008. It was awarded for excellence in type and graphic design at Modern Cyrillic 2009 competition. Also it received the second prize in display category at Granshan 2011. Fry was selected among 50 typefaces for the Call for type exhibition in the Gutenberg museum (2013).

What makes "Logopedia Now Rounded" unique is that it has a strong body, upper and lower case letters are the same size and work in perfect harmony. All letters in the character have "alternatives" in various numbers. This feature provides you variety in your designs. It is possible to take your designs to the next level by using "Logopedia Now Rounded". "Logopedia Now Rounded" is ideal for especially logo design, advertising and packaging, branding and creative industries, banners and billboards and signage as well as web and screen design. "Logopedia Now Rounded" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Logopedia Now Rounded 500 Regular” forms the central point. "Logopedia Now Rounded" comes 3 weights and italics total 6 types. The family contains a set of 543 glyphs. Classes and Features, Stilistic Style, Fractions and Old Style Numerator just one touch easy In all graphic programs. "Logopedia Now Rounded" is the perfect font for web use. Be sure to check out the other siblings of "Logopedia". Logopedia Now Logopedia Now Rounded Logopedia Next Logopedia Next Rounded You can enjoy using it.

Sauro is a font family based on proportions derived from automobile designs of the seventies. It supports 113 languages, features a total of 482 glyphs and includes an italicized version for each of the 5 weights.

Introducing a vintage look label font named Bobber Motorcycles. It includes five styles - Base, Rough, Outline, Shadow and Light. This font will good viewed on any retro design like posters, t-shirts, labels, logos and more.

Marguerita is the work of designer David Quay, a pseudo-Latin, 1950s concept based on a copperplate script. The capitals are meant as initials only. Marguerita is idea when a cheerful, light-hearted effect is desired.

French Wine JNL is an Art Deco thick-and-thin type design based on the hand lettering from a vintage poster for Monarch Cabernet Sauvignon wine. The typeface is available in both regular and oblique versions.

Starge is a professional hand-drawn typeface. It works perfectly for a crafty project where a functional font is required. The font supports all Latin-based European languages, contains numbers and all symbols you'll ever need.

It is not really a font, the are more icons. Based on a grid op seven squares al 127 possibilities – filled and unfilled. Use it decorative or just for fun. There is also a dotted version.

Introducing Clockwork Blackletter Vintage Clockwork Blackletter Vintage is a handmade Modern Victorian handlettering, which is combining modern and classic typography with some awesome alternates. Yes we back to early 1800s, bring classic touch on this decade.

Cantona Script is a beautiful, swirly script typeface. With its hundreds of decorative alternates, this font is perfect for a swashy logo or headline. It contains ligatures, and has support for all Latin based European languages.

Allora is a serif based typeface with three font styles: regular, display, hair and double. Mix them as you want: integrate Allora to your website, create mobile app or just make an awesome print. Enjoy it!

Floridian Script is a contemporary script font, released in 1972, with a clean appearance. Floridian Script's uppercase M and Q are unusual while the lowercase script is more simple than standard scripts based on copperplate handwriting.

Eterea LC (Lower Case) is based in Eterea using the same Capitals but changing the lower case set. You can use this version of Eterea to give a more readable and soft aspect to your work.