Chorus is a collective effort to sing in harmony. Similarly, each letter is designed to reflect harmony when used together to form a letter, sentence or paragraph. Letters like B, D, P and R have curved stroke (instead of straight line) while joining vertical stem. Letter K, k, and R have similar disjoint point in middle and unique plus stylish curve at foot. Letter C and G has distinct horizontal cut at top as compared to other letters in typeface e.g. S. Letter like b, h, m, n, and p have consistent stroke joint style with vertical stem. Ink traps in various letters are designed such that they blend with the letter form at certain degree instead, getting emphasised. The family comes in various styles in weight and width.

Purgatorie - Quirky Halloween Font is an enigmatic display typeface tailor-made for the spooktacular season of Halloween. With its sharp, angular letterforms, it effortlessly embraces the eerie and horror-themed design aesthetic. This font offers a whopping ten alternative variations, each inspired by different Halloween motifs like skeletons, bats, tombstones, blood, pumpkins, bats, witches' hats, and ghosts. Ideal for crafters and designers who enjoy creating products with a variety of themes, Purgatorie is a fantastic choice for logos, packaging, product branding, stickers, crafting, greeting cards, and invitations. Its ability to bring a playful and whimsical Halloween spirit to your creative projects makes it a must-have for the season. With its quirky Halloween style, Purgatorie allows you to create a bewitching atmosphere in your designs and celebrate the spooky holiday.

Structurally inspired by Modern font, Abula is distinctive for its two options: Original Slab Serif and Organic Slab Serif. The Latter is special for it illustrates the designer’s attempt to genetically modify the font. Beginning with the original structure, a humanist twist is incorporated into the serif adding the presence of curvy lines that shatter the solidity of the geometric form of the font. Another distinctive feature of Abula is the Ball Terminal at the upper curve of the letters such as ‘a, c, r and s.’ The results of Typesketchbook’s investigation give birth to a unique pair of the fonts, Original Slab Serif and Organic Slab Serif, that while stemming from the same structure, offer a different visual vibe and feel. Articles : Art4d Magazine(Thailand) Issue 207

The new typeface system is based on legibility of Renaissance and Baroque Antiqua. It maintains the quality of drawings without an overpowering historical legacy. The current concept makes the system a universal whole. Abrading of sharp edges which could catch one’s attention leads to a fine rounding of details. In this way, a sans drawing does not look hard and sterile unlike most of its contemporaries. Special attention was paid to every detail of each letter. The professional question of how to incorporate brightening wedges into the dark places of individual strokes’ onsets was resolved by rounded shapes that have their graphic response in the detail of the serifs. Particularly in larger sizes the typeface offers drawing sophistication and dimensional interconnection. Apart from Cyrillic alphabet, the alphabet design includes ­Vietnamese ­accents.

Hucks Serif is a contemporary serif typeface that seamlessly incorporates large open counters and gracefully curved and rounded forms, resulting in a glyph set that exudes a modern and elegant aesthetic. The pronounced contrast between thick and thin strokes imparts Hucks Serif with a harmonious and stylish appearance. Meticulously crafted to infuse letterforms with an inherent elegance, this font lends a distinctive style and atmosphere to every project it graces. Its versatile nature makes Hucks Serif particularly well-suited for many applications, including but not limited to editorial, headlines, large-format prints, brand identities, social media graphics, advertising materials, editorial designs, posters, magazines, logos, headings, and more. The adaptability of Hucks ensures it can effortlessly enhance the visual appeal and impact of a diverse range of creative projects.

@andinistas presents Bleak , an experimental font designed by #carlosfabiancg. Bleak is based on the imaginative use of contrast applied in the empty space and on the dramatic distributions of the wide and compressed horizontal of more than 400 textured symmetric capitals inspired by compositions of the Lissitzky, Theo van Doesburg, among others. In the Europe of the 20s, scarce resources prevailed, which gave these great artists the firm determination and dedication to create a visual vocabulary, characteristic of the composition with movable types of wood and metal. As they did not readily dispose of the forms of the letters they required, they did not hesitate to construct them with metal rulers, ornaments and other improvised pieces and remains and obtained in the forgotten corners of the typographic composition workshop.

Du is a self hommage to Uncertain Felttip. Uncertain, made in 2008, is a typeface which reproduced faithfully the style in which I am writing on copy paper, usually using the felt-tip pen. This time, I wrote the new family by the same method but using the tablet PC and the touch pen. Although, as for some characters, Uncertain differs in a form, it is the result of reflecting my hand writing. I wrote all the characters. If it is original, all the characters diverted and composed, for example, characters, such as Aacute and Agrave, are written. Different specification from Uncertain is family composition. Although Uncertain had only 3 weight, 7 weight were designed for Du. This way a user can choose his favorite weight because the variation of weights increased.

Introducing Wonder Pleasure, a new display font collection. The Wonder Pleasure font comes in a hand-drawn vintage style with rounded corners. Adding a vintage touch to your project is easy using Wonder Pleasure Font. Ensuring carefully crafted styles result from the use of this font. You can use the alternates from this font to add more fun to your projects. Its imperfections keep it casual but allow it to still be legible. There is an incredibly wide range of uses for it, so give it a try and see how it inspires your creativity! It's ideal for headlines, flyers, posters, greeting cards, product packaging, book covers, printed quotes, logotype, and album covers, among other applications. Features: - Total 210 Glyph - Uppercase & Lowercase - Numerals & Punctuation - Multilanguage Supports 60+ Latin based languages - Alternates

The new typeface system is based on legibility of Renaissance and Baroque Antiqua. It maintains the quality of drawings without an overpowering historical legacy. The current concept makes the system a universal whole. Abrading of sharp edges which could catch one’s attention leads to a fine rounding of details. In this way, a sans drawing does not look hard and sterile unlike most of its contemporaries. Special attention was paid to every detail of each letter. The professional question of how to incorporate brightening wedges into the dark places of individual strokes’ onsets was resolved by rounded shapes that have their graphic response in the detail of the serifs. Particularly in larger sizes the typeface offers drawing sophistication and dimensional interconnection. Apart from Cyrillic alphabet, the alphabet design includes ­Vietnamese ­accents.

Inspired by the diverse and dynamic neighborhoods around their studio, kapitza’s most recent work is about observing and recording the transient nature of inner-city populations. This visual research results in vibrant sets of silhouettes with site-specific names like ‘Liverpool Street’, ‘Victoria Park’ and ‘Brick Lane’. This ongoing project charts the visual component of local transformation, managing to reflect something that is deeper, invisible and beyond the surface. These fresh, creative typologies make sense of sensory overload. Though stark and simple, these silhouettes make the increasingly complex connections between people (s) and place(s). Somehow identities are represented in the absence of context and locations are curiously referenced without surroundings. By focusing on an area’s inhabitants, their work highlights distinct subtleties regarding the interplay time and place.

Symbojet is the first professionally designed font equally covering alphabetic and pictographic characters on a large-scale scheme. It’s typographically based on Andreas Stötzner’s recent “Lapidaria” design and uses brandnew standard Unicode-6.0 codepoints for about 340 symbol characters. Use Symbojet for combined text/signage composing to design wayfinding, tourism and leisure, sports and transport matters, for media and communication, for birthday invitations or bistro menu cards … With Symbojet the combined usage of text and signage becomes as easy and elegant as it has never been before. Symbojet is available in a Regular and a Bold version. Both fonts contain about 340 alphabetic (full Latin and Greek) and 400 pictographic characters; in total they count about 1000 glyphs each. The pictographic content is the same in both fonts.

Razom Script is a typeface with deep roots in pointed brush calligraphy that takes advantage of current font technology to go beyond handwriting and reach new limits. A successful blend between printed and handwritten letterforms is visible when comparing upper and lowercase. The weight of the typeface evolve in a way that pushes the limits of a script typeface to suggest new uses. Normally, families are developed in weights, not proportions. Also, having several weights in a script family is rather rare. But in Razon Script, as the fonts gain weight, big differences show up in the font outlines: the thin weight looks soft and delicate but as we examine darker variables, they also seem to get broken. The counters of the letters rotate from vertical to horizontal during this process.

Introducing the spookiest typeface on the block—Darkheart! With its condensed horror style, this font will send shivers down your spine. The interlocking letterforms are reminiscent of the monstrous creatures that roamed the silver screen in the 1960s. Darkheart’s eerie letters will give your message a mournful and terrifying voice, perfect for any horror-themed project. Use this font to create movie posters, book covers, or even Halloween party invitations. And, for your convenience, Darkheart is designed with ligatures that automatically create interlinked combinations. No need to fiddle around with separate letters, let the font work its magic and create the perfect spine-tingling message. Don’t miss out on this creepy typeface—get Darkheart today and let the monsters lurch to life! 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.

Ghost Terror is a captivating display font that will haunt your designs with an eerie allure. Designed in uppercase and bold, this typeface commands attention and exudes an aura of fear. Each letter is meticulously crafted with a rounded shape, and some have sharp edges, adding a sense of unpredictability and suspense. The haunting brush details on each letter further enhance the font's chilling theme, immersing your audience in a world of ghostly terror. With its bold weight and rounded shape, this font brings a sense of familiarity while maintaining an air of otherworldly mystery. The mix of rounded shapes and sharp edges in this font adds a dynamic contrast, giving the font an unsettling and unpredictable appearance. The letters seem to dance between the realms of the living and the undead, capturing the essence of ghostly entities that lurk in the shadows. The brush details in Ghost Terror lend a haunting and handcrafted touch, as if the letters were inscribed by spectral beings. These eerie details add a sense of craftsmanship and an element of horror, creating an atmosphere of supernatural presence. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Ghost Terror fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen. The Linotype Office Alliance fonts guarantee data clarity. All of the font weights within the individual family have the same character measurements; individual letters or words may have their styles changed without line wrap being affected! All numbers, mathematical signs, and currency symbols are tabular; they share the same set character width, ensuring that nothing stands in the way of clear graph, chart, and table design. In addition to being extremely open and legible, the characters in this collection's fonts also share the same capital letter height and the same x-height. The production and reading of financial reports is duly streamlined with the Linotype Office Alliance fonts. The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype's Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text. The other three families in the Office Alliance system include Metro Office, Times Europa Office and Trump Mediaeval Office.Some weights of the Neuzeit Office are availabla as soft rounded versions. "

Capitaly Script is a bold calligraphic typeface. Created with pride and care, this lettering has the optimal appearance of a classic vintage logo, for a modern setting. The font family consists of the styles Script (Regular) and Top (Upright). Use asterisk * after a letter to make a swash letter. Example: Ber*lin Use _ or # or ¤ after any word to make a swash tail. Example: Cursive¤ Letters_ Use multiple _ # ¤ after any word to make swashes of different length. Example: Decorate______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Falkosta is a decorative retro script typeface. Drawn and created by Mans Greback in 2022, this cursive lettering has a distinct style and a strong personality. Use it for a vintage logotype, a print for your business or as a headline for an article. Use underscore _ anywhere in a word to make a swash under the word. Example: Love_ Write # or ¤ after any letter to make a swash version. Example: Me# & You¤ Use multiple underscores for longer swashes. Example: Superman_______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Second Lesson is a classic handwriting typeface. A calligraphic typeface family, Second Lesson follows the flowing and traditional handwritten typography taught at school. The script lettering is provided in styles Regular and Bold, and consists of over 1000 glyphs and support all Latin based languages as well as Russian, Bulgarian and other Cyrillic languages. Drawn and created by Mans Greback in 2021, this lettering has a slanted style and a beautiful personality. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It also supports Cyrillic. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Rombi Technocrat is a geometric, heavy font that features a unique combination of square shapes and slanting angles. Inspired by the dynamics of forward movement and the rigidity of structured design, this italicized font family brings a sense of purpose and direction to your creative projects. The Rombi Technocrat font family includes five weights: Thin, Light, Regular, Bold, and Black, providing a broad range of stylistic options for designs that call for a distinct, angular touch. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Armature Neue Sans is an extension of the original Armature Neue family released in 2010. Like Armature Neue, Armature Neue Sans consists of six weights with accompanying italics. Armature is one result of my interest in typefaces that are constructed, rather than drawn. Although it is basically a monoline design, there are subtle details throughout that compensate for a monoline’s evenness. As with all fontBoy fonts, there are dingbats hidden away in the dark recesses of the keyboard. When I first started designing this face in 1992, I called it Dino - I thought I would name all my fonts after famous pets, so the dingbats for Armature are dinosaurs. To access the alternate characters (closed counter B and R, and others) use Stylistic Set 1 or the glyphs palette in your OpenType-enabled application. Designed by Bob Aufuldish with editing and production by Psy/Ops.

Synerga Pro is a contemporary slab-serif typeface with humanist features. In smaller text sizes it exposes the characteristics of its slab built, but as the size grows, lots of fine features become visible: rounded terminals, dynamic horizontal serifs, non-vertical endings of vertical serifs. Such details make Synerga Pro suitable for setting paragraph texts as well as large captions. Synerga Pro is equipped with many OpenType features including 4 sets of digits, small caps and ordinals. The extensive language coverage includes most of the Latin-based languages, as well as major languages that use Cyrillic script. Also be sure to try Synerga Pro as webfont to appreciate its accurate and rhythmic appearance at virtually any text size! Some of the styles of Synerga Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Fulgora is a sort of ‘calligraphic typography’ or ‘typographic calligraphy’, depending on the point of view. Inspired by late-medieval Bâtarde and Civilité blackletter styles, the Kannada and Sinhala writing systems from Southern India, Celtic uncials, and diverse vernacular Mexican scripts, Fulgora was created straight from pen on paper as a personal calligraphic style where fantasy in the chief ingredient. The idea to take it to the digital realm came later, as an extension of the creative process. To this end, originals for each character were made, directly traced with the nib with no retouching, then vectorized to be digitally assembled. Work has been done on spacing and kerning with the aim to digitally reproduce an utterly calligraphic outcome keeping the natural, imperfect, manual finish of all signs. Fulgora has two variants: Blanca (white) and Negra (black), executed with different nib widths but the same style and proportions.

Heimat Display is the high contrast sans serif typeface family within the Heimat Collection, also containing Heimat Didone, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Display is a typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Display’s character set provides different alphabets, the regular one plus alternate designs that comes across as less suspenseful. Heimat Display [873 glyphs] comes in 72 styles and contains extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

Lil Stuart is a beautiful calligraphic script typeface. Drawn and created between 2019 to 2022, this logotype lettering has a vivid style and a strong personality. It has an optimistic look, expressive speed and characteristic movements. Use underscore _ anywhere in a word to make an underline. Example: Love_letter Use multiple underscores to make different swashes. Example: Base_____ball Use numbersign # after any letter to make a swash. Example: Welcome# Summer# (Download required.) The Lil Stuart typeface family consist of Regular and Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Chonky is a bold script font based on English calligraphy but with touches of the vitality that the commercial lettering of 1950s had, and it is mostly inspired in the work of the master Doyald Young and his lessons. Its rounded terminals, friendly look and heavy weight make Chonky a perfect option for advertising, packaging and visual identities. In the Regular font, the ascenders, descenders and capitals are the shorter they could be; while in Poster, they are larger, in order to achieve more graceful forms. Both options include stylistic sets and ligatures to embellish the words. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Keep the Standard Ligatures and Contextual Alternates features always active. For further information about features and alternates, see the User Guide Chonky has extensive Western, Central and Eastern European language support. Enjoy!

Heimat Didone is the high contrast serif typeface family within the Heimat Collection, also containing Heimat Display, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Didone is a neo-classical typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Didone’s character set provides two alphabets, the regular one plus an alternate design that comes across as less suspenseful. Heimat Didone [872 glyphs] comes in 72 styles and contains 6 optical weights, extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

Cute Letters is a hand drawn font family in two styles with extensive character sets. Cute Letters - Hearted is a vibrant happily singing script, all capital as well as some lowercase letters are decorated with heart shapes. Second: Cute Letters - Heartless is still as vivid as it’s sister Hearted but a little less briskly, some straightened forms and without the decorative hearts. Both styles are readable and suitable for longer texts in medium point sizes. Cute Letters Hearted & Heartless is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Manofik is a classic serif typeface. It has round and relaxed retro forms, a comfortable thickness and a stable base. A traditional legible font, the Manofik family sets the authenticity to any project. It could be used for a hamburger logo, a product headline, or a body text that requires that extra bit of personality. This expressive type is provided in four styles: Manofik Regular, Manofik Bold, Manofik Italic and Manofik Bold Italic The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has a very extensive lingual support, covering Arabic, Cyrillic, Capital Greek and all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Margit Variable is the single font file of the type family Margit. Containing two-axis, one for setting the weight and another for the italic, this convenient single font file allows you to explore and mix endless typesetting combinations. You can now precisely choose a unique combination using the two-axis sliders, fitting your exact needs. The complete family is included in Margit Variable, containing all the characters and features in Margit, including Latin and Cyrillic scripts, supporting over 200 languages. Margit's letterforms have a contemporary style with pointy edges and friendly curves inspired by old wood-type specimens. Its bold and unapologetic design will be great to use in poster design, giving the content a stronger voice. This font family can bring a unique look to your packaging projects and modern branding solutions. Explore the extensive range of styles and weights that make this typeface ultra-versatile.

Barney Script is a cool baseball typeface. A sporty calligraphy, this retro lettering will be your go-to style for a fresh team logotype or a vintage headline. Drawn and created by Mans Greback in 2022, it has a competitive style and a bold personality. The Barney Script family consists of three professional styles: Regular, Bold and Rounded, complimenting each other for greater design opportunities. Use underscore _ to make a swash. Example: Letter_ Use multiple underscores to make longer swashes. Example: Football____ The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Famiar is a professional sans-serif typeface. It is friendly and optimistic while retaining an intellectual appearance and smooth, balanced curvatures. Drawn and created by Mans Greback between 2020-2022, Famiar has a fresh style and a strong personality, and is a great option for many modern designs. Provided in 18 high-quality styles, such as Thin, Light, Regular, Bold, SemiBold, ExtraBold, Black and Italic, the diversity of the typeface family ensures it can always be used to its fullest potential. Famiar is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Like traditional athletic block typefaces, VTF Charisma is built with chiseled cornersand a rigid skeleton. However, an underlying formula of fervor and functionality emerges in execution. The typeface features traditional block tendencies that are challenged by expressive angles and deviations in line weight that harken to penmanship. Uniquely tapered terminals seen in letters like "a", "c", and "s" demonstrate a strong visual energy while increasing legibility. The legs of angled letterforms like the "A", "v", and "y" are cropped in a way that further reinforces this motif. These stylistic cues are employed throughout the family’s 7 weights, ranging from Thin to Black with an accompanying Oblique variant for each. VTF Charisma is equipped with a hefty 970 glyphs that support Small Caps, fractions, extensive Latin characters, stylistic alternates and more. Paired with its dynamic charm and strong visual appearance, the family’s horizon of capabilities broadens.

Spritz And Delicious is a modern typeface with a traditional heritage. Captivating and blending the ruggedness of a saloon's wooden sign and the elegance of a Victorian tea room's menu, Spritz And Delicious is a typeface where the subtle hint of serifs adds a unique flavor, a nod to its vintage inspirations. At its core it remains a robust sans-serif, maintaining a fresh, modern twist. Provided in Regular, Bold, Italic and Bold italic, this font family is as diverse as it is refined. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. Behind this creation is type designer Mans Greback.

Shoika is a celebration of geometry. It’s a typographic quest for purity with a touch of hidden gems in the form of unique details and characters. Shoika is perfect for the modern designer who needs a solid, refined and versatile font family for branding, UX, web, packaging and editorial jobs. Shoika presents a wide range of weights (18 fonts), supports an extensive variety of Latin alphabet-based languages (over 200), and it has been manually kerned and auto-hinted for enhanced performance on screen. It includes several OpenType features like case diacritics, tabular figures, arrows, ordinals, inferior and superior figures, numerator and denominator figures, fractions, circled figures, black circled figures, outline dingbats and solid dingbats. All typefaces from Tropical Type Foundry include free updates and free technical support. For custom enquiries don’t hesitate to get in touch: tropicaltypefoundry@gmail.com Imagery credits: Unsplash (Photo), DrawKit and RawPixel (Illustrations).