Katka is a informal playful typeface entirely cut-out of paper. With two stylistic variants for each letter it enables your text to appear hand-made. Three layers of the type family – Basic, Contour and Confetti – give its users plenty of opportunity for creativity. By making use of its dingbats and icons you can create distinctive user interfaces, social media campaigns or festive designs. Katka feels at home in branding projects, editorial use, children’s books and packaging.

Gloss Drop is a wild hand lettered typeface, that passed the process of digitization without losing the spontaneous vibrancy of brush lettering. With the power of OpenType it gets real close to what you normally do with ink, brush and paper. Like in real handwriting, some, but not all, letters connect within a word. Automatic OpenType features handle the choice of inital and final forms neighbouring a gap and choose the adequate medial or isolated forms.

A friendly and comfortable typeface inspired by Century Schoolbook and Clarendon. Despite the strength and sturdiness of the design, each letter shape carries warmth and an echo of the human hand, concealing some nostalgia. The family is ideally suited for editorial, advertising and packaging as well as web and app design. A massive body combined with low stroke contrast, make it very suitable on screen and for small text sizes on newsprint paper. For more information visit the microsite.

Nonchalant was inspired by an old Peter Sellers poster from the around 1970 (the year that I was born!) I wanted to keep the funky look of the 70's but update with a more modern 21st century look. That's how Nonchalant ended up looking like a hybrid between funk, grafitti and sans serif! Use Nonchalant for your posters, commercials, postcards, invitations, shout-outs or whatever needs something funky! Comes with an extensive amount of international letters!

Niko is a contemporary, humanist sans with a friendly yet clear and distinct personality. It is designed for excellent legibility, particularly for long continuous reading. The wedge-shaped stem heads add liveliness and variety to the carefully crafted letterforms. Niko, a highly versatile type family consisting of 54 styles that are designed to work equally well on paper and on screen. The family includes condensed, as well as extra-condensed variations, for situations where space-saving typography is required.

Introducing Charlietta de Angela - Brush Script Signature is a Authentic brush script that is written casually and quickly. Letters are made with brushes on paper. Then scanned and carefully drawn into vector format. That is why Charlietta de Angela has charming, authentic and relaxed characteristic more natural look to your text with a more natural look to your text. You can activate Ligature OpenType panel, Charlietta de Angela Perfect for designs, branding projects, Logo design, Quotes product packaging.

Kidcut is a typeface created by cutting glyphs out of paper with scissors. The shapes are irregular, giving the impression of being cut out by a child. The typeface contains upper and lower case letters of the Latin alphabet (basic, Eastern, Western and South Western Europe, Vientamese and Pinyin) and three contextual alternates from each glyph, which is very important when there are three identical letters in one word - then we have the impression of handmade, not repetitive.

Thrift is a beautifully curvaceous serif font with smooth curves and fine lines and plenty of OpenType features. Thrift is perfect for your next editorial, advertising, branding, book, or invitation project. Thrift Regular and Thrift Italic each include approximately 800 glyphs. Specific OpenType features include stylistic alternates, several stylistic sets with features like curved ascenders and descenders, multilingual support (including multiple currency symbols - for kicks I even included a Bitcoin symbol in there), standard and proportional oldstyle numbers, and four ampersand styles. It also includes 24 standard and discretionary ligatures that add character and interest to your typography. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Mail support : julie@upupcreative.com Find inspiration (and sneak peeks at my next font-in-progress) on Instagram: http://instagram.com/julieatupupcreative Facebook : https://www.facebook.com/upupcreative Pinterest: https://www.pinterest.com/upupcreative My website: http://upupcreative.com Please enjoy! I can't wait to see what you make with Thrift! Feel free to use the #upupcreative and #thriftfont tags to show me what you've been up to!

Introducing Gadion – Psychedelic Typeface A Mesmerizing Display Font Gadion – Psychedelic Typeface is your gateway to a captivating and unconventional display typography experience. With its trippy and psychedelic vibes, it breaks free from the mundane and ensures your designs remain endlessly fascinating. A Splash of Psychedelic Creativity Gadion unleashes a burst of psychedelic creativity that’s perfect for making your displays truly captivating. Its unconventional design immediately draws attention, infusing an element of excitement into your projects. Endless Visual Delights Furthermore, with Gadion, every character is a visual delight. Its swirling, hypnotic patterns and vibrant colors ensure that your message stands out in a way that’s both engaging and unforgettable. Versatile Display Possibilities Moreover, Gadion’s versatility extends beyond traditional bounds. It’s not just a font; it’s an experience. Whether it’s event posters, album covers, or promotional materials, this typeface takes your display to a whole new dimension, offering a multitude of creative options. In Conclusion Gadion – Psychedelic Typeface offers a unique and visually stimulating journey for your display needs. Say goodbye to dull and ordinary, and embrace the extraordinary with this font. Let Gadion infuse your designs with psychedelic magic that captivates and mesmerizes your audience, ensuring they stay immersed in the trippy world you create.

Oktah is a geometric grotesk that comes both as a variable font and 22 static fonts: 11 uprights and 11 matching italics, which make it a great tool for those seeking a versatile font with a strong character and high legibility. Throw in a very pleasing look, elegant curves and a wide range of weights, and you'd get what Oktah aspires to be: a perfect typographic tool for every need.In Oktah, elegant geometric curves meet bold strokes and wide apertures. Round letters are nearly circular, but, to boost readability, slight changes were introduced for optical compensation. Oktah is also equipped with amazing OpenType features: case sensitive punctuation, ligatures, fractions, superscript and subscript figures, two kinds of circular figures, stylistic & contextual alternatives and much more! Oktah supports all major European languages, as well as Vietnamese and some dozens of foreign languages that you may encounter in your designs. We've got all that covered. The glyph count for each of the styles is 800+ characters. Two styles (Extra Light and Bold Italic) are free to try and experiment with. If you need wide language support and more extensive OpenType features, consider taking a look at Oktah Neue, a bigger version of the classic Oktah.

The new Religan serif font is luxurious and elegant which will bring a unique style and trendy look to your designs. This modern serif relogan has several on-trend ligature binders and special characters to make it look more unique in all design projects and work perfectly to pair with other fonts. It's perfect for logotypes, branding, wedding monograms and invitations, blog headlines and more. Here we prepare some fasteners: ab ar an am ah ara ap ti tr st tu tt ct et ff ty ffi fu ft fj fy th tm tn in im ir it ta ri er eh em en ch cr ra ng li eb cb fr ck fb fh fk jj gi and more.. Religan also includes the full set: Uppercase and lowercase Multilingual symbol Number Punctuation This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Religan! Feel free to use the #Dora Typefoundry tag and # Religan Modern Serif Font to show what you've done. If you have any questions, you can contact us by email: doratypefoundry@gmail.com Thank You!

Phinney Jenson ML is a font with deep historical roots firmly planted in the fertile soil of the Italian Renaissance. Twenty years after Lorenzo Ghiberti finished his famous East Doors, the Gates of Paradise, of Santa Maria del Fiore in Florence and about fifteen years before Sandro Botticelli painted his “Birth of Venus,” a French printer by the name of Nicolas Jenson set up a small print shop in the powerful city-state of Venice. The fifteenth century marked the end of the plague and the rise of Venetian power, as the merchants of Venice controlled the lucrative trade of the eastern Mediterranean and sent their ships as far as London and even the Baltic. In 1470, Jenson introduced his Roman type with the printing of De Praeparatio Evangelica by Eusebuis. He continued to use his type for over 150 editions until he died in 1480. In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jenson’s Roman and drew his own somewhat darker version called GOLDEN, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinney’s version of Morris' version of Nicolas Jenson’s Roman. We selected a view of the Piazza San Marco in Venice for our gallery illustration of Phinney Jenson ML because most of the principal buildings on the Piazza were already standing when Jenson arrived in Vienna in 1470. The original Campanile was completed in 1173 (the 1912 replacement is partially visible on the left). The Basilica di San Marco was substantially complete by 1300. The Doge’s Palace (not in the photo, but next to the Basilica) was substantially complete by 1450. Even the Torre dell'Orologio (Clock Tower) may have been completed by 1470—certainly by 1500. Phinney Jenson ML has a "rough-and-ready" strength, suitable for headlines and short blocks of text. We have sought to preserve some of the crudeness of the nineteenth-century original. For comparison, see the more refined Centaur, Bruce Rogers's interpretation of Jenson Roman. Phinney Jenson ML has a strong presence that will help your documents stand out from the Times New Roman blizzard that threatens to cover us all. Phinney Jenson ML Features: 1. Glyphs for the 1252 Western Europe, 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Accented glyphs for Cornish and Old Gaelic. Total of 393 glyphs. 400 kerning pairs. 2. OpenType GSUB layout features: onum, pnum, salt, liga, dlig, hisy and ornm. 3. Tabular (std), proportional (opt) & old-style numbers (opt). 5. CcNnOoSsZz-kreska available (salt).

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Flexo Soft is the soft companion of Flexo. In Flexo Soft, the sharp edges of Flexo's characters have been tempered by a moderate rounding—creating a softer and friendlier typeface. Flexo Soft has a squarish design, making it stand out in many uses. It will shine in both headlines and text. It is well suited for graphic design and corporate identity design. Flexo Soft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features—so it’s ready for advanced typographic projects. For more information about Flexo Soft, download the PDF Specimen Manual.

Malina (raspberry) is a plump, sweet-tempered display typeface. It comes in one style that includes small caps, ligatures, and ornaments. The face “speaks” several languages. Malina works wonders in titles and bite-size text nuggets. On top of the regular set of characters, the typeface hosts with ease a duck and fox, owl and crocodile, mammoth and pig. They’re irresistible when used by one or in bunches forming patterns. The typeface is ideal for signs, posters, sweets and kids product packaging; will feel at home in fun & entertainment stuff design and as a part of playful projects.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de

FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

Sumergible Script is a striking font that simulates it has been written with a dry pointed brush on textured paper. Its purpose is to decorate and accompany photos, illustrations and textures by letters designed with a generous horizontal spacing between lowercase which reinforces the idea of hurriedly and interrupted cursive calligraphy. In that sense it is spontaneous and useful to form vibrant words and sentences, shining short messages on book covers, posters and other graphic design media. Sumergible Script has new alternative letter forms that are activated with OpenType features creating hierarchy changes in writing. With Swash for example, you can change the character case with metric and similar proportions. With Titling it becomes even more expressive capitalization. Other OpenType features are: Fractions and Superscript. In short, Sumergible Script is designed to mix and match words and short phrases with a vital and expressive handwritten feel.

Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing designers to produce, bubbly, high-spirited masterpieces, where geometric excess and calligraphic inventions melted joyfully. Freitag is Cosimo Lorenzo Pancini's homage to this era and its typography. His starting point was the design of a heavy sans serif with humanist condensed proportions, flared stems and reverse contrast, that generated both the main family, and a variant display subfamily. The main typeface family slowly builds the tension and design exuberance along the weight axis - a bit like our desire for the weekend increases during the week. In Light and Medium weights the font shows a more controlled, medium-contrast design, tightly spaced for maximum display effect. The Book weight follows the same design but uses a more relaxed letter spacing to allow usage in smaller sizes and short body copy. As weight increases in the Bold weight the style becomes more expressive, with a visible reverse contrast building up and culminating in the Heavy weight with his clearly visible "bell bottoms" feel. In the display sub-family the design is pushed further by introducing variant letterforms that have a stronger connection to calligraphy and lettering. Also, the weight range becomes a optical one, with weights marked as Medium, Large, XLarge, as bringing the contrast and the boldness to the extreme creates smaller counterspaces that require bigger usage sizes. Another important addition of the display sub-family is the connected italics that sport swash capitals and cursive letterforms, developed with logo design and ultra-expressive editorial design in mind. To balance the extreme contrast in the XL weight, contrast of punctuation is reduced, creating a rich, highly-dynamic texture wherever diacritics and marks are used in the text. The full family includes 16 styles + 4 variable fonts, allowing full control of the design over its tree-hugging design space. All 20 fonts share an extended latin charset with open type features including case sensitive forms, single and double story variants and alternate glyphs. According to its creator, "Freitag is the typeface that sounds like an imaginary Woodstock where on the stage with Jimi Hendrix with Novarese, Motter, Excoffon and Benguiat playing onstage with Jimi Hendrix". Jeepers creepers!

Merry Bauble Letters is designed to complement our 'Merry Baubles' fleuron typeface. Quite simply, it's a set of Christmas Tree ornaments with letters painted on them…

Hollander is a refined, yet sturdy text typeface designed by Gerard Unger. The name stems from the font’s similarity to the types attributed to van Dijk and Voskens, two Dutch punchcutters from the seventeenth century. Like those earlier Dutch types, Hollander has generous proportions, a tall x-height, and high contrast between thick and thin strokes. It was designed to work in the early arenas of digital technology, when letters were generated as coarse pixels with a cathode ray tube in the typesetters of the 1970s, and then as finer pixels with a laser beam in the machines of the 1980s. Hollander has a well-drawn stability that maintains legibility even on inferior quality paper. When used as a display face, Hollander is an excellent companion to one of Unger’s most successful text faces, Swift.

Charriot Deluxe was released in early 2006 at deviantArt.com - where it received a Daily Deviation frontpage feature - and daFont.com. It has already been downloaded over 20.000 times and now it's your turn to try this sexy pixelfont, absolutely free of charge! Charriot Deluxe has all letters, numbers, punctuation and (currency) symbols to suit your needs and is best used at (any multiple) of size 10pt without anti-aliasing.

Centar Sans is a simple, modern, universal, powerful, invisible but not characterless, sans serif family. The family is designed for identities & corporate projects. Its wide range of styles covers lots of possibilities of use, from headlines to texts. It supports a lot of languages including cyrillic and comes along with 19 OpenType features - Small Caps, ligatures, alternates and many more. Regular styles are FREE! Extended detail here. or here.

It's cool to be square. Among the many strange attempts to conceal writing, these two systems allegedly used by the Masons have a wonderful simplicity and relative ease of use. Both systems, the Rosicrucian and Free Mason, (also called the Pigpen cypher) as simple replacement ciphers never offered very great cryptographic security, but certainly would ensure that the casual observer would not be able to read documents written in such scripts.

Cygnet CF charms with classic warmth and curious verve. An absurdly generous x-height makes this surprisingly readable and versatile display typeface perfect for headlines, captions, logos, and more. Nine weights plus italics grant a wide range of applications and moods, from sweet and elegant thins to intense and playful bolds. Nine weights with italics Extensive Latin script support for multiple languages OpenType features including alternates Free updates and feature additions

Introducing Neckyn - Quirky Sans Serif: A playful typeface that embraces individuality with its unique character. With its unconventional shapes and quirky charm, Neckyn adds a distinctive touch to any project, making a charming statement that stands out from the crowd. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Retro and refined you can explore and combine creating rhythm for comfortable reading. Roller Hesoon supports more than 100 Latin-based languages and has extensive Cyrillic and Greek support for languages like Russian, Bulgarian, Ukrainian, and many more. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Cyrillic & Greek Feel free to drop us a message any time and follow my shop for upcoming updates. Hope you enjoy it.

Introducing Baguede, a post modern grotesque typeface with Fancy and catchy touch to maintain a sophisticated feel for the purpose of display. You want to make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, poster, pop vintage design, retro design or any purpose to make your art / design project look pretty and trendy? Feel free to play with this typeface!

Edicia is modern serif family with 5 weights and matching Italics. Distinctive and recognizable, Edicia stands out clearly with charming details. Characterized by asymmetric serifs, Edicia is designed with special care for ink-traps. Contains extended Latin and Cyrillic character set equipped with left & right side Borders, Localised Forms, Denominator & Numerator, OldStyle Figures, Tabular Figures, Tabular OldStyle Figures, Superscript, Subscript, Stylistic Alternates. Thin weight is available for free.

An inkstone, a brush, ink, and paper. In China, one speaks of “wenfang sibao” — the four treasures of the scholar’s study. With these centuries-old hand tools, Werner Schneider created a calligraphic type trilogy of the highest aesthetic order; he named this typeface family after Buddha’s stepbrother, Sunetta. Sunetta is an outstanding choice for contemporary display type purposes. Its combination of lively forms overcome sterile text passages, lending them a more personal note and feeling. But Sunetta is not only recommended for documents bestowing distinction and accolades; the fonts are superb for shorter text passages as well. Sunetta’s spirited flow raises it above the fray that so many generic letterforms find themselves mired in, creating an unforgettable impression. Sunetta’s three complementary styles, Sunetta Flair, Sunetta Charme, and Sunetta Magic, offer three varying degrees of calligraphic verve. The family’s base font, Sunetta Flair, harkens back to the showcard lettering styles of the 1950s, while remaining distinctly European in taste. Sunetta Charme has a more swash-type appearance, while Sunetta Magic is joyfully decorative — its brush-written strokes dance across the line. Together, they may help you reach typographic nirvana.

The Whimsies series goes further in our fixation with invented little people: the three dingbats of this series contain mostly imaginary situations, drawn first with ink on paper. All but a tiny fraction of the illustrations (a total of 114) have been drawn from one's imagination, with no previous models. The themes depicted here are varied and often humorous, though the humour is on the darker side, you are warned. The themes have a definite retro - victorian feel, with top hats, moustaches, long coats, walking canes and the like. Together with their close relatives, our Illustries, Bizarries, Ombres, Absurdies and Genteta dingbats (we give this bizarre collective the common name of Whimbats) you can use the Whimsies in an endless variety of projects, ranging from small spot illustration to whole pages, page spreads or posters applications. You can use them as they come in the digital font, or customize them easily in your favourite graphics program. A touch of texture or color will give them a completely new look. The vectorial nature of digital fonts means you can enlarge them to any size, with no loss of crispness in their outlines.