An exquisite Didot font in 18 series Ambroise is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These unique glyphs are found in Gras Vibert, cut by Michel Vibert. Vibert was the appointed punchcutter of the Didot family during this period. It is the Heavy, whom sources were surest that Jean François Porchez has been used as the basis for the design of the typeface family. In the second half of the 19th century, it was usual to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the big French foundries in the 1960s. Ambroise attempts to reproduce more of what we see printed on paper in the 19th century; a more accurate representation of Didot punches. So, the unbracketed serifs are not truly square straight-line forms but use tiny transitional curves instead. The result on the page appears softer and less straight, particularly in larger sizes. The illustrious Didot family of type founders and printers Every variation of the typeface carries a name in homage to a member of the illustrious Didot family of type founders and printers. The condensed variant is called Ambroise Firmin. The extra-condensed is called Ambroise François. Ambroise Pro brought back to life: fifteen years in the making! Club des directeurs artistiques, 48e palmarès Bukva:raz 2001

Makika Sun enhances the handwritten expressive possibilities of an architect mom and a graphic designer dad in Bogotá, Colombia. In other words, it is a versatile handwritten font family designed for writing short messages in children's contexts. Makika Sun shines for its conceptualization and logic, combining ideas from the American calligrapher Austin Norman Palmer and the Italian calligrapher Ludovico degli Arrighi. Makika Sun, a creative font family specializing in titles and paragraphs for children's books, emerged in 2009 and has developed over the years. Its essence lies in the simplicity of handwriting. In 2023, Makika Sun was applied in the book "Secret Files Tardigrades 1" for children ages 5-6 on Amazon from MyMicroSchool. The main goal of Makika Sun is to emulate handwriting that is legible and accessible to everyone. Makika Sun stands out for its readability and uncomplicated, artisanal style. It offers four typographic styles that simulate different calibers of markers: thick tip (Makika Sun Black), medium tip (Makika Sun Bold), normal tip (Makika Sun Regular) and Makika Sun Dingbats, a set of arrows and figures perfect to enrich your writing. . In short, Makika Sun's versatility and stylistic uniformity make it easy to create writing in various typographic settings. Its typographic heart communicates harmony in messages meticulously designed for spontaneous contexts that require high readability. Makika Sun offers a dynamic range of styles in 4 fonts notable for their outstanding performance in the field of children's book design and the creation of playful brand identities.

ITC Werkstatt is a result of the combined talents of Alphabet Soup's Paul Crome and Satwinder Sehmi, along with Ilene Strizver and Colin Brignall. It is inspired by the work of Rudolph Koch, the renowned German calligrapher, punchcutter, and type designer of the first third of this century, without being based directly on any of Koch's typefaces. Werkstatt has obvious affinities with the heavy, woodcut look of Koch's popular Neuland, but also with display faces like Wallau and even the light, delicate Koch Antiqua. Brignall began by drawing formal letters with a 55mm cap height, which Sehmi reinterpreted using a pen with a broad-edge nib. “Not an easy process,” says Brignall, “since one of the features of Koch's style is that while it was calligraphic in spirit, most of the time his counter shapes did not bear any resemblance to the external shapes, as they would in normal calligraphy. This meant that Sehmi could not complete a whole character in one go, but had to create the outside and inside shapes separately and then ink in the center of the letters.” The process was repeated, only without entirely filling in the outlines, for the Engraved version. Crome handled the scanning and digitization, maintaining the hand-made feel while creating usable digital outlines. “The collaboration of artisans with particular skills,” says Brignall, “in a modern-day, computer-aided studio environment, seems very much in step with the 'workshop' ethos that Rudolph Koch encouraged and promoted so much.”

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.

LiebeRuth is your 100 percent hand-made organic type. She absolutely loves to be typeset in large *and* small sizes, because Legibility is her middle name. (Yes, we know it’s not a typical girl’s name.) She is friendly and polite, but she also has a few quirks. Her friends are impressed with how natural she manages to look every day. Her four weights ensure that Ruth has the right boldness for any context: birthday invitation, personal correspondence, photo album, or billboard ad. During the creation of this font, her designer ate plenty of healthy, organic foods. We think this is the reason why Ruth looks so fresh and lively. And of course Ruth has been designed with lots of Liebe (which is German for “love”—and she speaks many other languages, too). One more thing Ruth is marvelous at: showing off her curly-swirly swashed alternative letterforms that can be activated via OpenType. (Please make sure your software supports OpenType if you wish to use the advanced features.) Each style contains more than 560 gluten-free glyphs—now that is great value! If you like this font, you may want to look at LiebeRuth’s bolder sister LiebeDoni and our best-sellers LiebeErika and LiebeKlara. Or add in some LiebeOrnaments to prepare a curly-licious feast. By the way: LiebeRuth also gets along great with our wide range of illustrative fonts, including LiebeCook, LiebeFish, and LiebeTweet.

Dynamic by name, and dynamic by nature - this sleek font is perfect for logos and hightech quotes. The original lowercase f had a big overhang - I redesigned it so it fits better with accented letters, but also kept the original shape as a contextual alternate: the font automatically uses the "large" f before any low letters... Also the lowercase j would crash into any preceding letters with a righthand descender - so I also designed an automatic alternate j. Result: no colliding letters! The Slanted version adds a touch of speed. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The Trump Mediaeval Office family is designed after the model of the original serif family produced by Georg Trump in 1954. Trump released this typeface through the C.E. Weber type foundry in Stuttgart, and Linotype quickly cut the face for mechanical composition. Thereafter it became popular around the world. One of the most prolific German type designers of the 20th century, Trump created numerous typefaces in several different styles, but Trump Mediaeval is often regarded as his best work. Trump Mediaeval is an old style serif typeface, with new inherent quality that could only have come about after centuries of variation on this theme. It bears some resemblance to the classic Garamond typefaces, yet its characteristic letters set it apart in a positive way. Akira Kobayashi, Linotype’s Type Director, released his own revived design, Trump Mediaeval Office, in 2006. Trump Mediaeval Office has two weights, each with an italic companion. Unlike the original design, Kobayashi has harmonized the varying letterforms across the two weights, allowing Regular and Bold text to stand side by side harmoniously. Trump Mediaeval’s numbers now match across weights as well, optimizing their legibility in sizes large and small. Decades ago, Trump Mediaeval was a popular choice for setting book texts, because of its robust serifs. These are exactly what make the face a good choice for office application today; on lower-resolution printers, these serifs will still remain a strong feature on the letterform, increasing legibility along the line of text.

Introducing "AZN Knuckles Varsity" font by AthayaDZN. Revolutionizing a varsity slab serif, combining sharp and rounded edges, angled serif, and a variety of weights, fitting it into the modern scene. Equipped with 3 styles ( Defined, Regular, Stencil ) Use the Defined version if you are aiming for that slab serif look, just like the name suggested, it defines the modernized slab serif on each letter, giving it that retro look yet still in the modern scene. Especially on the light weight of this version, the slab serif is really prominent. Use the Regular Version if you are aiming for any type of design that you see this font fits especially the modern scene, just like how it's advertised. Use the Stencil version if you are aiming to make a statement, my favorite one is the Bold and Italic version of the Stencil if I was to make a statement, just like the preview where it says "Anarchy", the separated shapes of the letter combined with it's bold and slanted shape is perfect to make a strong statement. Language Support : Afrikaans, Albanian, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Luxembourgish, Norwegian, Portuguese, Romansh, Scottish Gaelic, Spanish, Swedish, Swiss German, Uzbek (Latin). And that's it for this font, thank you for purchasing the product, I wish you success on your projects. Please enjoy the font and let me know if you needed any help or if you have any questions -Athaya twitter.com/Athaya_DZN behance.net/athayadzn

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

This pearl by Kevin King was the best faux chinese font I've ever come over, and now it can be used for setting themed text and menus in many more languages! :) Kevin King says: "I have said before you know - I can if I want to (Stamp! Scowl!). Cod Chinese of the worst kind, I wanted a "Chinese" font for a project and couldn't find what I wanted. I painted this font with a Chinese brush and imported the resultant mess - it's been a while since I did any Chinese calligraphy - add that to the fact that I don't read or speak Chinese..." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A faux script font typical of classic american branding. I have totally reworked all the letterforms: they started with a “notch” and ended flat - I have removed the “notch” and rounded off the ending stroke, so now you can actually start words with the lowercase letters. I have also improved the spacing (especially after the capitals), and of course added all the “foreign” glyphs. A classic is reborn! Nick Curtis says: "Just another “somewhere from the thirties to the fifties” kinda script, named kinda after a sixties rock festival." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing Better Times, a handmade brush font! This bold, free-flowing and confident brush font is designed to be easily customisable with 2 sets of each letter and a bonus set of 20 swashes! Oh, and not to mention it looks great in both all-caps as well as lowercase - all of this together providing you with a huge range of layout options. Better Times is a brush font which you can use and enjoy again and again, for anything from promotional material and handwritten quotes, to product packaging, merchandise and branding projects. The Better Times family consists of 3 fonts; 1. Better Times • A handwritten brush font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Better Times Alt • This is a second version of Better Times, with a completely new set of lowercase and uppercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Better Times Swash • A set of 20 hand-drawn swashes, the perfect finishing touch to underline your Better Times text. Simply install this as a separate font, select it from your font menu and type any A-U character to create a swash. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Polish, Indonesian, Filipino, Malay

A collection of DIN Mittelschrift variants with a slightly sinister and scary appearance - perfect for that Halloween ad, brochure or article. The Plain font is included if you buy the family pack, and can be mixed in. The DINfun Pro fonts are special versions of the classic DIN 1451 Mittelschrift, far removed from the original typeface's serious and no-nonsense roots. I have made them as companions to the classic, with some some very different expressions, complete with a large multilingual character set. Time to spice up that DIN profile! :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

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

A squarish uppercase font perfect for logos and short eye-catching headings. The lowercase contains some alternate letterforms - more specifically: uppercase have closed forms (I made a new A D and R), and lowercase have some open alternatives (new B E F P and T in addition to the A D and R). I noticed the two width version of the H and made similar normal and wide versions of J and L. Then I added lots of missing glyphs and all the diacritic letters, of course - and finally the family has been expanded to 7 weights AND corresponding Italics! Enjoy! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Schnorr is a family of three fonts drawn by a German designer, Peter Schnorr. Schnorr Dekorativ is one of the less frequently seen of the alphabets he designed and one of the few for which he designed as lower case. Like many of the alphabets of the period, Schnorr Dekorativ is a delicate design. To provide a little more presence, we have added a DEMIBOLD version. Included in both Schnorr Dekorativ and Schnorr Demibold are an ornament of Schnorr’s design, seven T-ligatures and an alternate lower case t. 123=Ta, 125=Te, 135=Th, 137=Ornament, 167=Ti, 172=To, 188=Tr, 190=Tu and 177=alternate t. Schnorr’s design for the lower case t is unusual and not readily recognized. The alternate may be used to improve readability. Schnorr Initialen was designed as an upper case only design and as such is quite popular. It is often seen under the name of Odessa. Our font is a fresh scan and is paired with our Schnorr Demibold to provide a compatible lower case, along with all the rest of the auxiliary characters. Schnorr Initialen includes all the extras supplied with Schnorr Dekorativ and Schnorr Demibold: 123=Ta, 125=Te, 135=Th, 137=Ornament, 167=Ti, 172=To, 188=Tr, 190=Tu and 177=alternate t. In addition, Schnorr Initialen also includes an alternate uppercase I (172) and five lotus ornaments (123, 125, 167, 188 and 190).

Sealt Typeface is inspired by the oldest saltworks in Eastern Europe, founded in 1390 in Drohobych. Sealt means salt in Old English, so most letters are rough and sharp like salt crystals and seem to be carved out of the rock. View PDF Specimen: https://michaelrafailyk.com/typeface/specimen/Sealt.pdf Variable font: Sealt VF has weight axis and includes hundreds of weights ranging from Light (300) to Bold (700), so feel free to choose the most accurate weight that you need, using a slider. Localized Forms: 47 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Moldavian, Polish, Romanian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (561 characters). Precomposed. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures, including Lining, Superscript, Subscript, Numerator, Denominator, and Fractions. Contextual Alternates: ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps mode. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Standard Ligatures: OO TT tt fi. Turned on by default. Language count: 480+. Kerning Class pairs: 4295. The promo images used photos of Albin Berlin, Hervé Piglowski, Karolina Grabowska, Scott Webb from Pexels and Dollar Gill from Unsplash.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.   Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.    Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Introducing "Cowboy Wanted" - The Ultimate Western Retro Serif Font! Saddle up and embrace the wild, wild west with Cowboy Wanted, the font that's taking the design world by storm. This font embodies the perfect blend of old-school ruggedness and contemporary flair, making it the hottest ticket in town for all your Western-inspired design needs. Each character in Cowboy Wanted is meticulously crafted to capture the essence of the Old West, from the sweeping serifs to the rugged lines. Whether you're working on a saloon-inspired logo, a rustic poster, or a themed event invitation, Cowboy Wanted adds that authentic Western touch that's so in demand right now. Don't miss your chance to lasso the trendiest Western retro serif font of the moment. With Cowboy Wanted, you'll be the sheriff of style in your design projects, standing out in the crowded frontier of design. Saddle up and make a bold statement with Cowboy Wanted today! Here's what you get: Cowboy Wanted Regular All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

Features: • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Gravitica is a modern sans serif with a geometric touch. It comes in 8 weights, 16 uprights and its matching italics, patterns, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Gravitica family consists of 13 styles (12 weights, 12 Italics and 1 patterns), in each of which there are more than 940+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.) Behance (You can give feedback if you find a problem.)

Disclaimer: An unhealthy amount of energy drinks were consumed while creating this product Bring some loud, bright, and nostalgic fun to your designs with the Neo Retro font pack! Create bold, vibrant, 90s-inspired designs in just a few clicks—giving you more time to hang out at the mall, go to a drive-in, kick-ass at the arcade or go make the perfect mix-tape (you get the idea). Here's a run through the font family; Neo Retro Font • A high energy font with clean edges and sharp ends. An all caps font, but with a larger and smaller variation included as upper and lowercase sets. Neo Retro Alt Font • This is a second version of the Neo Retro Font, with a completely new set of upper & lowercase characters drawn in the same style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Neo Retro Icons Font • A set of 36 fun, hand-drawn icons designed to match with the Neo Retro font. Includes doodles, shapes, zig-zags, underline swashes & more. Simply install as a separate font and type any A-Z or a-j letter to generate an icon. Language Support; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Inspired by a find a coarse but decorative font was created. "Fundstueck" ist the German term for it. Fonts can be so simple. That is what I was thinking as my attention was turned to this rusty piece of metal. Only a few centimeters in size, I couldn’t imagine which purpose it might truly serve. But my eyes also saw an E, even a well-proportioned E: a width to height ratio of approximately 2/3, black and fine strokes with a 1/2 proportion — could I create more characters on this basis? Thought it, did it. The form is based on a 5mm unit. The strikingly thick middle stroke of E suggests that the emphasis is not necessarily placed on the typical stroke, and likewise with the other characters. But if the font is going to be somewhat legible, then you cannot leave out slanted strokes completely. Eventually I found enough varying solutions for all letters of the alphabet and figures. A font designed in this way doesn’t really have to be extremely legible, which is why I forwent creating lower case letters. Nevertheless, Fundstueck still contains some diverse forms in the layout of upper and lower case letters. Thus, the typeface is a bit richer in variety. By the way — the “lower” letters with accents and umlauts stay between the baseline and cap height. And with that, you get wonderful ribbon-type lines.

Experience the enchanting allure of Amantea Script, a stunning and delicate font that embodies elegance and grace in every stroke. With its thin and flowing style, this script font captures the essence of sophistication, making it the perfect choice for a wide range of design projects. Amantea Script is a true gem for those seeking to create captivating wedding invitations that leave a lasting impression. Its intricate and graceful curves evoke a sense of romance and beauty, adding a touch of magic to any special occasion. The versatility of this font extends beyond weddings, as it effortlessly enhances stationary art, creating stunning pieces that exude refinement and style. In the realm of digital design, Amantea Script shines on social media platforms, effortlessly captivating audiences with its captivating charm. Whether it's engaging posts, inspiring quotes, or eye-catching advertisements, this font adds an element of sophistication and allure that commands attention. With its extensive language support, Amantea Script opens up a world of possibilities. From English to Spanish, French to German, and beyond, you can seamlessly incorporate this font into your projects, ensuring that your message reaches a global audience. Amantea Script comes complete with a wide range of features, including alternate characters and ligatures, allowing you to create unique and personalized designs. The font is PUA encoded, providing easy access to a plethora of stunning glyphs that add depth and flair to your creations.

A very popular grungy font, now made even more useful! With this Pro version you have the possibility to tone it down a bit - I have made alternate letters without swashes (use the OpenType Swash feature to switch them) and without so much bleed (use the OpenType Stylistic Alternates/ss01 feature). And then you can turn it up again by adding six different swashes to any letter! Write { or after a letter to add a swash to the right side, _ will add one below. Added fun and language support! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

Geometric sans fonts in the Bauhaus tradition were the inspiration for the design of FF Mark®, for example the Universal font by Herbert Bayer, Erbar® Grotesk, Kabel®, Neuzeit Grotesk and of course Paul Renner's Futura®. From an aesthetic point of view, FF Mark is a descendant of these classics of German typeface design that intends to meet the needs of modern communication. Hannes von Döhren and Christoph Koeberlin had the support of the entire FontFont Type Department in the design of FF Mark, including Erik Spiekermann, who took over the artistic direction of the project. The teamwork resulted in carefully planned, balanced forms, which are responsible for the harmonious overall impression of the font. The capitals are not based on Roman square capitals; rather, they have a uniformly wide letter form in a comfortable ratio to the x-height. Thanks to the x-height, which is significantly larger compared to the historical models, FF Mark is also very legible in small sizes. This makes it a very flexible font in terms of its range of applications. A contrast in the stroke width is barely noticeable. At the same time, light modulation supports readability, especially in the bold styles in small sizes. The uniform line ends are obvious for a contemporary sans family nowadays (unlike some of the historical precedents, which evolved over years). Other details from the predecessors are consciously maintained and provide for added individuality in FF Mark. For example, the limbs in the uppercase "K" and "R" are offset slightly from the stem. Alternative characters with crossbars are available for the numbers "0", "1", "7" and the uppercase "Z" and the lowercase "a" also has an alternative with an open form. German typesetters have the option of uppercase umlauts with points that are set lower, as well as a long "s" from the Fraktur. And last but not least, FF Mark has the very characteristic ft-ligature of Futura. FF Mark is available in ten finely tuned weights ranging from Hairline to Black. A Book style for text setting further emphasizes the well-rounded features of this contemporary typeface. When the font was published, it also included ten carefully designed cursives for all weights. Users also have the option of various numeral sets with old-style and uppercase numbers as well as small capitals. FF Mark also has some geometric shapes and arrows based on the features of Futura. FF Mark is a modern, full-featured, geometric sans serif that you can use without hesitation for large projects in headlines as well as in texts. FF Mark's design is a nod to the historical models and transports their charm, elegance and in some cases unusual design applications into a modern font family equipped with the most current typographical features. NEW: the new FF Mark 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 and also several based on Cyrillic and Greek alphabets.

Blackletter typefaces follow certain fixed rules, both in respect to their forms and to the orthography. Possibly, they were a reaction to the half-developed Carolingian minuscule which was soon to end in the Latin script. Narrow, ordered script was to replace the round, hesitant and shattered shapes of letters in order to simplify writing, to unify the meaning of individual letters, and to save some parchment, too. Opposed to the practice common in monasterial scriptoriums where Uncial, Irish and Carolingian inspiration flew freely and as a result, the styles of writing differed in each monastery, the blackletter type was to define one, common standard. It was to express spiritual verticality, in perfect tune with the architecture of the Gothic era. Typography became an integral part of the overall style of the period. The pointed arch and the blackletter type were the vanguard of the spectacular transformation from the Middle Ages towards the modern era, they were a celebration of a time when works of art were not signed by their makers yet. Some unfortunate souls keep linking blackletter solely with Germany and the Third Reich, while the truth is that its direct predecessor, the Gothic minuscule, evolved mostly in France. Even Hitler himself indicated blackletter type obsolete in the age of steel, iron and concrete – thus making a significant contribution to the spreading of the Latin script in Germany. Once we leave our prejudice aside, we find that the shapes of blackletter type have exceptional potential, unheard of in sans-serif letterforms. The lower case letters fit into an imaginary rectangle which is easily extended both upwards and sideways. In its scope and in the name itself, the Moyenage type family project is to celebrate the diversity of the Middle Ages. I begun realizing the urge to design my own blackletter when visiting the beer gardens of Munich and while walking through the villages of rural Austria. The letters from the notice boards of inns are scented with spring air, with the flowers of cudweed, with white sausage and weissbier. The crooked calligraphic hooks and beaks seem to imitate the hearty yodeling of local drinkers and the rustle of the giant skirts of girls who distribute the giant wreaths of beer jugs. Moyenage is, however, a modern replica of blackletter, so it contains some otherwise unacceptable Latin script elements in upper case. I chose these keeping the modern reader in mind, striving for better legibility. The font is drawn as if written with a flat pen or brush, and with the ambition to, perhaps, serve as a calligraphic model. In medium width, the face is surprisingly well legible; it is perfect for menus as well as posters and CD covers for some of the heavier kinds of music. It has five types of numerals and also a set of Cyrillic script, symbolising the lovelorn union of Germans and Russians in the 20th century. Thus, it is well suited for the setting of bilingual texts of the German classic literature, which, according to the ancient rules, must not be set in Latin script.