The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set with full support for three language scripts. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

Redfighter is an attention-grabbing display font with a games theme, featuring large letters and a rectangular shape with sharp corners. This font shows large letters that demand attention and make a statement. The generous size of each character ensures maximum visibility and impactful design elements. This design choice allows this font to stand out and grab the viewer's attention with its imposing presence. The rectangular shape with sharp corners in Redfighter adds a sense of structure and strength to the font. The clean lines and defined angles create a visually bold and striking appearance. This unique feature evokes a sense of power and precision, reflecting the intensity and competitiveness found in the gaming world. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Redfighter fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects that aim to create a strong visual impact. 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.

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

Scary Notes is a spine-chilling display font designed to evoke fear and horror. With its big letters and bold weight, this font demands attention and is sure to send shivers down your spine. The details of the letters are meticulously crafted to resemble brush strokes, adding an unsettling and handcrafted touch to the font. Each letter in Scary Notes is bold and commanding, creating an impactful presence that cannot be ignored. The big size of the letters adds to the font's intensity. The brush details in this font give the font an organic and chaotic appearance, reminiscent of chilling hand-painted writings. These details add a sense of unpredictability and terror, immersing the viewer into the world of horror and fear. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Scary Notes fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. 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.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

The Parisii was a small Gallic people settled in the current Paris region, which gave its name to the city of Paris. According to Caesar (53 BC.), their main town (oppidum) was Lutetia (Paris). Parisii was born of inspiration to be leafing through some old magazines on the terrace of a cafe in the beautiful city that is Paris. Parisi is like the city: casual, youth, romantic, free spirited and, at the same time, sophisticated, elegant and classic. The Parisi family font is a lovely and casual handlettering script, which is based on gestual calligraphy. Parisi has a slight bounce and intentional irregularity giving your words a wonderful flow. Fat and thin stroke in this font impresses the harmony. Parisi consists of 3 subfamilies: Regular, Italic and Condensed. This font includes Parisi font has OpenType features such as Stylistics and Contextual alternates, swashes, Standard and Discretional Ligatures, stylistic sets and ornaments that allow you to mix and match pairs of letters to fit your design. This will help your creativity and make it easier to make the impressive and elegant typographic work. This OpenType features may only be accessible via OpenType-aware applications, a Central European language support. Parisi looks lovely on wedding invitations, greeting cards, logos, business-cards and is perfect for using in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and more!

Etelka was designed for purposes of corporate identities, branding, product package design and outside lettering. It works anywhere an extremely legible typeface is needed. Package and label design often requires a wide choice of weights and widths: light and narrowed fonts to fit huge amount of mandatory informations onto a small box, or to squeeze text lines around a bottle, fat and wide styles to emphasize information on a poster or vehicle. The regular styles will serve well for business card, small texts and for your website. Etelka’s design idea is wide, open rounded square. Some details are extremely minimized: lower-case “a, n” or “u” lack their typical spur. The typeface has a distinctive industrial expression with all diagonals slightly softened, and her overall strict mono-linear principle is exceptionally broken only for fine optical adjustments in joints. Cyrillic and Greek scripts are present for international business, as well as rich latin diacritics. Etelka is actually very well suited for all kinds of visual communication, especially orientation systems in modern architecture. The first drawing of the font, which was later named “Etelka”, was submitted in 2004 for the Czech Television identity competition and was rejected by the jury. We later concluded that the design was worth extending to the current superfamily of 42 fonts. It is a reliable typeface for corporate identities and websites.

»COSMA« is an old greek word that stands for »beauty« and »order«, I thought it a very befitting name for my new font-family. My »Cosma« has that special high-contrast Renaissance beauty but is very orderly in appearance. »Cosma« is a classical beauty with modern touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from UltraLight to Bold and all the necessary weights in between. Great for body copy and headlines! With 964 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Cosma« has a set of Cyrillic that is also good for Serbia, Macedonia and Ukraine. Sorry, no Greek! But it has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many alternative letters and ligatures. On top I designed two sets of alternative, decorated caps each in normal and oblique. »Cosma« comes in Normal, Italic and Oblique, sometimes you just don’t want to use Oblique instead of Italic that would be too playful for the occasion. »Cosma« doesn’t come cheap, but I start off with an 80 % reduction, so that is a good chance to get all 49 cuts for a phantastic price. Oh, I almost forgot, If you buy the whole family, you get the variable fonts to go with it for free, that’s a good investment into the future. Enjoy!

Analisa is a special modern style font. Crafted with pinpoint accuracy with beautiful curves. with alternate characters and bonds that make your work very special. Analisa is perfect for use in watercolor designs or bold handwriting styles, such as blog headers, branding, t-shirts, Great for branding designs, logos, greeting cards, title packaging, weddings, social media, product design, stationery , advertising, clothing, book covers, business cards, greeting cards, branding, merchandise, handmade invitations and quotes, and more. Immediately use our fonts to make your work more amazing. Feature analisa of OpenType style alternatives, International binders and support for most Western Languages ​​included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Analisa are coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing.

Whatever the medium, Girard’s love for typography was the common thread that wove his work together. We are honored that the Girard family has entrusted us to celebrate and expand upon the legacy of this design icon with this collection of fonts. The Girard Slab family gracefully synthesizes illustrative sensibilities into a practical typographic framework. Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. From boutique chocolate packaging to the titling sequence for an indie vegan superhero cartoon, Girard Script deftly adds a contemporary sophistication to text and display settings. Inspired by a workhorse lettering style that helped Alexander Girard implement thousands of design elements in his overhaul of the Braniff identity system, Girard Sky pulls its weight in any contemporary application. In Girard Sansusie, each character stands alone as an illustrative element while coming together with its counterparts as a whimsical yet functional typeface. FEATURES: The ligatures feature substitutes specially-drawn letter combinations that combine two, three or even four characters to create smoother transitions and simulate lettering sensibilities. Girard Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. Copious alternate characters and “smart” OpenType programming allow Sansusie to escape the rigid confines of typography to come alive as if flowing from Girard’s sketchpad. This animation shows a sampling of the swash characters available in the font. GIRARD CREDITS: Typeface Design: Alexander Girard, Ben Kiel, Ken Barber, Laura Meseguer Typeface Production: Ben Kiel Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

Introducing Sewn, the typeface that’s tailor-made for your next design project! With its mechanically embroidered letterforms, Sewn is perfect for adding a touch of craft and artistry to your designs. Each of Sewn’s four sizes—small, medium, large, and extra-large—has been carefully crafted to ensure that the thread thickness and stitch density are perfectly balanced, creating a truly unique and authentic look. And with the added benefit of letter pair ligatures, you can add even more visual interest to your designs by breaking up the monotony of repeating letters. Inspired by the legible designs of Doradani, Sewn is the perfect choice for any project that needs to stand out. Whether you’re working on a logo, a poster, or a website, Sewn’s machine-stitched letterforms are sure to make a lasting impression. So why settle for boring, generic fonts when you can add a touch of handmade charm to your designs with Sewn? Try it today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

I thought that "Anyway cute fonts!", Fancy fonts with pops decorated gorgeous cute illustrations. I tried dressed on the letters as well as wearing my favorite clothes when going out. Although it is lacking in readability, I think whether it is fun to use colors or use them pointwise. Since the decoration is different each character, animals are found in various places, ribbons, hearts, and foods are decorated, so it may be interesting to see it one character at a time. It would be greatly appreciated if you use it, or who looked at it could feel a little happy. ＜「おめかしふぉんとPro」紹介文＞ 「とにかくかわいいフォントを！」と思って、文字をかわいいイラストでごてごて派手に飾ったポップでファンシーなフォントです。 お出かけの際にお気に入りの服を着ておめかしをするように、文字にもおめかしをしてみました。 可読性には欠けますが、色を塗ってみたりポイント的に使うと面白いかと思います。 一文字ずつ装飾が違っており、色んなところに動物がいたりリボンやハート、食べ物でデコレーションされているので、一文字ずつ見るのも面白いかもしれません。 使ってくださる方、見てくださる方が少しでも幸せな気分になれれば幸いです。 ＜スタイルカテゴリー＞ ファンシー、装飾

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

Zeneon is an extraordinary display font that combines the captivating allure of neon lights with an intriguing inline design. With its bold uppercase letterforms and electrifying neon style, this typeface creates a visually stunning and unforgettable impact. The defining feature of Zeneon lies in its mesmerizing neon-inspired design, enhanced by a distinctive inline element. Each letter is meticulously crafted to emanate the vibrant glow of neon lights, capturing the essence of urban energy. The inline detail adds an extra layer of visual interest, creating a dynamic and captivating composition. Inspired by the enchanting charm of neon signs, Zeneon infuses a sense of liveliness and modernity into each character. The font embodies the pulsating energy of neon lights, casting a radiant glow that demands attention. This neon style evokes a nostalgic urban atmosphere, adding a touch of excitement and intrigue to your designs. The uppercase letterforms of Zeneon are bold and assertive, making a powerful statement with their distinct design. The combination of the neon style and the intriguing inline element enhances the font's overall composition, creating a captivating visual impact. Zeneon is perfect for headlines, logos, signage, and any design project that seeks to command attention with a touch of neon-inspired flair. Enjoy the various features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Zeneon fits for creating posters, branding materials, digital artwork, or anything in between, this font will elevate your project to new heights. It particularly shines in applications related to nightlife, entertainment, technology, and urban-themed designs, where it adds a futuristic edge. 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.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Layered font set 3D Bulb lamp Bulblamp is a 12 component font system that can be layered in different ways to create endless classic titling effects used commonly in signage by skilled sign painters and sign makers and any who interested in simple and flexible ways to make graphic design. Examples of how to use this you can see on the images. Moreover, You can start fast in Figma, Illustrator and Photoshop with predefined downloadable package. ! Download free predesigned Figma, Illustrator and Photoshop sets for this fonts here: https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs Each file is named according to its purpose. The number indicates the recommended order of the layers. 1 below, 5 on top. 1 means you should place it first. Of course, you do not have to use all the fonts, and vice versa - you can repeatedly use the same font style with different styles. What is Layered font? In fact, these are common fonts located in a stack strictly one above the other. This allows quickly create unique text effects using ordinary fonts. Where can you use this? These fonts can be used in any program that allows you to stack fonts as objects strictly one above the other, however it is recommended to work in professional programs such as Illustrator, Photoshop, Figma and so on ... How to use this font set quickly? For quick use, I recommend using ready designs for Figma, Photoshop or Illustrator. Download fonts and Install all fonts. Go to the link https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs which has contained pre-made solutions for this font applicable in Figma, Photoshop or Illustrator and download presets. Follow the recommendations on the pages. Basically, you will need to replace the words in the template with your own, then edit colors and transfer the result to your design. In that’s all, it's easy.

Cinema Macabre: Horror Fonts Torn from the Pages of Giallo A Hand-drawn Display Font for Creating the Most Diabolical Horror Titles This loose and inky brush font takes its inspiration from the classic Giallo film posters of the 1960s to 1980s - a cult cinematic subgenre beloved for its stylish visuals, haunting soundtracks and exploitation led marketing. It's a devilishly drawn design that aims to capture the feeling of vintage horror, preserving analogue details of old print while remaining versatile enough to work across a variety of digital designs. The Cinema Macabre font family boasts six fonts, each containing a unique set of uppercase and lowercase characters, as well as numerals, punctuation and language support. Add to this a host of custom ligatures, underlines and graphic elements and you have an essential toolbox for creating truly hand-made looking title designs. Cinema Macabre if a font that rewards experimentation by mixing all the various upper and lowercase alternatives, with interesting combinations waiting to be found and inspire terror across your own movie posters, book covers, albums and editorials. Few other fonts offer the versatility to create such diabolical designs! A Brief Introduction to Giallo: In popular cinema, Giallo is a genre of mystery fiction and thrillers often containing slasher, psychological horror, exploitation, supernatural and erotic elements. The term giallo (meaning yellow) derives from a series of pulp novels published by Mondadori from 1929 taking the name from its trademark yellow covers. The series consisted of Italian translations of mystery novels by well-known authors such as Agatha Christie, Edgar Allan Poe and Raymond Chandler. The popularity of these cheap paperbacks eventually established the word Giallo as a synonym in Italian for a mystery novel. The cinematic Giallo subgenre developed during the 1960-80s and are noted for their vivid cinematography, memorable soundtracks and inventive gore-filled scenarios. Key examples include Dario Argento's Suspiria, Tenebrae and Deep Red - stylish films that at once influenced the American slasher (see Black Christmas and Friday 13th) up to todays horror in Censor and Last Night In Soho.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Welcome to Rukyltronic—a synthetic bitmap font that brings a unique and intriguing twist to your designs. Inspired by the eccentric computer fonts from the 1980s science fiction computer games, Rukyltronic boasts an array of interesting effects that will add a touch of nostalgia to your creations. With its variable gaps, Rukyltronic is the perfect choice for anyone looking to create an authentic pixel font look. The kerning is limited to full pixel increments, allowing you to achieve an authentic low resolution look and feel in your designs. Whether you’re working on a retro video game, a sci-fi movie poster, or a digital art piece, Rukyltronic is the font you need to bring that vintage 80s computer feel to life. Its unique style and limited kerning create a humble yet striking appearance that is sure to catch the eye of your audience. So what are you waiting for? Give Rukyltronic a try today and let your designs stand out! 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.

Poeta Color is an ornamental font for making patterns and decorating text. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or thematic seasonal and holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a basic straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Below is some helpful technical information. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns. All fonts are vector-based, OpenType, and fully scalable. Six of the fonts have different color or grey combinations. One of the fonts (solid) is a standard font. The font previews on this website will only display the font in black. See the slides to get an idea of the colors. Be assured that the colors are present in the files and will appear when loaded on the computer. The colors that are in each font: Primary: red, yellow, blue Secondary: orange, green, purple Tertiary: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet Diverse: many different warm and cool colors Grey: three different greys from light to dark Gradient: a greyscale gradient Solid: standard font and can be colored normally Software that supports color SVG fonts: Photoshop, since 2017 llustrator, since 2018 InDesign, since 2019 QuarkXPress, since 2018 Pixelmator Sketch

Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768. In Amsterdam he worked for several type founderies, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his move to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time. After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundery 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein. In 1743 after the type foundery was sold by Wetstein’s son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé. Fleischmann created for Enschedé numerous fonts. The font example published 1768 by Enschedé contains 3 titling alphabets, 16 antiquacuts, 14 italic cuts, 13 textura- and 2 scriptcuts, 2 greek typesets (upper cases and ligatures), 1 arabic, 1 malayan and 7 armenian font systems, 5 sets of musicnotes and the poliphonian musicnotesystem by Fleischmann. In total he brought into being about 100 alphabets - the fruits of fourty years of creative work as a punchcutter. Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion. The impressive re-interpretation of the Fleischmann Antiqua and the corresponding italics by Erhard Kaiser from Leipzig, which were done for the Dutch Type Library from 1993 to 1997, snatched Fleischmann away from being forgotten by history. Therefore we want to place strong emphasis on this beautiful font. Fleischman Gotisch The other fonts by Fleischmann are only known to a small circle of connoisseurs and enthusiasts. So far they are not available in adequat quality for modern systems. Same applies the "Fleischman Gotisch", which has been made available cross platform to modern typeset-systems as CFF Open Type font through the presented sample. The Fleischman Gotisch has been proved to be one of the fonts, on which Fleischmann spent a good deal of his best effort; this font simply was near to his heart. Between 1744 and 1762 he created 13 different sizes of this font. All follow the same principles of forms, but their richness of details has been adapted to the particular sizes. In later times the font was modified more or less sensitive by various type founderies; letters were added, changed to current taste or replaced by others; so that nowadays a unique and binding mastercopy of this font is missing. Likewise the name of the font underwent several changes. Fleischmann himself probably never named his font, as he did with none of his fonts. By Enschedé this textura was named Nederduits, later on Nederduitsch. When the font was offered by the german type foundery Flinsch in Frankfurt/Main, the more convenient name of Fleischmann-Gotisch was chosen. In his "Masterbook of the font" and his "Abstract about the Et-character" Jan Tschichold refered to it as "Duyts" again. To honour the genious of Johann Michael Fleischmann we decided to name the writing "Fleischmann Gotisch PT" (unhyphenated). Developing the digital Fleischman Gotisch I decided not to use one of the thirteen sizes as binding mastercopy, but corresponding to the typical ductus of the font to re-create an independent use of forms strongly based on Fleischmann´s language of forms. All ascenders and descenders were standardised. Some characters, identified as added later on, were eliminated (especially the round lower case-R and several versions of longs- respectively f-ligatures) and others were adjusted to the principles of Fleischmann. Where indicated the diverse characters were integrated as alternative. They can be selected in the corresponding menu. All for the correct german black letter necessary longs and other ligatures were generated. Through the according integration into the feature-code about 85% of all ligatures in the type can be generated automatically. Problematic combinations (Fl, Fk, Fh, ll, lh, lk, lb) were created as ligatures and are likewise constructed automatically. A historically interesting letter is the "round r", which was already designated by Fleischmann; it is used after preceding round letters. Likewise interesting is the inventive form of the &-character, which is mentioned by Tschichold in his corresponding abstract. Nevertheless despite all interpretation it was very important to me to maintain the utmost fidelity to the original. With this digital version of a phantastic texturfont of the late baroque I hope to contribute to a blossoming of interest for this genious master of his kind: Johann Michel Fleischmann. OpenType features: - Unicode (ISO 10646-2) - contains 520 glyphes - Basic Latin - Latin-1 Supplement - Latin Extended-A - Latin Extended-B - Central European Glyhps - Ornaments - Fractions - Standard ligatures - Discretionary ligatures - Historical ligatures - Kerning-Table