Greycliff Japanese CF is a Japanese-script adaptation of the original Greycliff CF sans serif typeface. The warm, geometric design includes full suite of 9 weights for beautiful dual-language applications. All 3,220 glyphs – covering hiragana, katakana, Joyo kanji, and romaji – were hand-drawn with a careful eye for detail. All Joyo kanji are included. Future updates will add rare name and geographic kanji. グレイクリフは、すでにリリースしている Greycliff CF サンセリフ書体にひらがなや漢字などの日本語が新しく追加されたフォントです。 大きな特徴として、グレイクリフ日本語フォントはローマ字（ラテン文字）のフォントデザインと統一されたバランスのとれたモダンな美しいデザインになっています。 フォントの太さは細字(Thin)から超極太字(Heavy)までの9種類を揃えており、幅広い用途に使用することができます。 ・合わせて約3,220文字を収録しています。 ・ひらがなとカタカナのフルセット ・常用漢字をすべて収録しました(~2136文字)。 今後のアップデート: ・すべての人名漢字を収録予定 ・地名になどに使用される漢字を収録予定

Kaytek™ Slab is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Slab’s details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Slab draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Kaytek Slab is robust and solid. Kaytek Slab comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Sans, Kaytek Headline and Kaytek Rounded, are also available.

Tatline Neue is a serif font family of 14 fonts encompassing a wide range of weights — from Thin to Heavy. Tatline Neue was modelled after the original Tatline display font, but this major overhaul resulted not only in updated and tweaked shapes and smother curves, but also in addition of 13 new weights, making Tatline Neue a perfect tool for designers and typographers alike. Each font contains 450 glyphs, multiple sets of numbers, stylistic alternatives for certain glyphs, ligatures, numerators, denominators, old style figures, and other symbols. Tatline Neue can be freely used across Western European, Central European, South Eastern European languages. Tatline Neue was designed from the scratch to keep glyphs consistent across all weights. Thinner fonts are more uniform, with little to no variation in the weight of the strokes. Bolder fonts, on the other hands, are chunky and somewhat comic —in a good way. Tatline Neue was born out of a display font, losing none of its original quirkiness and vibe. While serif fonts are often seen as vintage and orthodox, Tatline Neue strikes a livelier note: one of cheekiness, bizarreness, quirkiness, and expressiveness. Thanks to a wide range of weights, Tatline Neue is a great tool for a variety of projects: whether it's used for plain text in a larger body of text or as a headline font, or even as a key element in a logo creation or brand identity. Tatline Neue is a serif font for those who are tired of seeing the boring in the typography and design; it's a font for explorers, for adventurers, for those who seek to find their own voice.

EngelNewSans is sans serif family of 12 weights and an upgrade of the typeface Engel also published by Die Gestalten Verlag. The project began with an extension to the original Engel character set and freshening up the typeface to suit the OpenType format. EngelNewSerif came about as a sibling to EngelNewSans as a corresponding serif family also of 12 weights, matching those of EngelNewSans. Both families are designed for a wide usage in running text and headlines. EngelNewSans is an evolved version of the original Engel typeface, which undergone improvements to the individual letterforms and the overall look which resulted in this sans serif type family with a more mature confident character and with softer, rounder and more harmonious shapes. The characteristics between the two could perhaps, very fittingly, be compared to a person showing different sides to their personality at different stages in life. With EngelNewSans portraying the more mature role while the original Engel shows traits of a cool teenager with rough edges, not yet fully developed. To make the light weights function with serifs attached for EngelNewSerif, the same low stroke contrast as seen in EngelNewSans was applied. Further discovery found that the serifs and the stem width had to be optically similar for the light weights not to appear too fragile. In the heavy weights however, the stroke contrast was higher than in the Sans versions, this was done to open up the counters and make room for the serifs to breathe. The intention of the families is to motivate an element of play and give the designer a larger selection to work with.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterised by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings. This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

After months of testing and development, we have managed to put together the Brandogram Typeface, an ultimate tool for monogram design. With the help of this typeface you can easily create a monogram in less than a minute. Thanks to the way we have created and optimised Brandogram, the uppercase letters effortlessly fit together with the small caps that are activated by the lowercase letters. Using the Brandogram typeface you can create unlimited monogram combos with 2, 3 or even 4 letters in some cases. And these are all possible thanks to features like: Multiple letter widths, from condensed to wide; Both sans serif and slab serif letter designs; Up to 24 different designs per letter; All letter variations are available as alternates so you can easily choose your favorite; Accents are available for each letter alternate; Uppercase and lowercase activated letters are constructed to perfectly center and middle align; There are 5 solid ready-made weights; There are another 2 stencil weights that can bring a new touch to your designs. The 7 weights of Brandogram Monogram Typeface: Thin Light Regular Medium Bold Stencil One Stencil Two Each of these weights are thought to express different levels of heaviness. The thicker the weight of the font gets, the less white space will be left between the letters when they are combined, therefore your design gets heavier. The role of the stencil weights is to create depth in the monogram designs. With those you can easily delete the extra overlapping shapes of the letters and create passages between the letters and give an interlocking impression. This typeface combined with your creativity can have no limits!

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Caroni is a cute handmade typeface, which was originally created in 2018 as a free font. It has a simple and clean look, and works great for longer texts. Caroni has already been used in numerous children's books, so now it was time to extend Caroni's look, and add more styles. The Caroni Family at a glance If you like Caroni, you will love the Caroni font family! Caroni now comes in bold and italic, and it has nine awesome siblings: Avenue (all dressed up with stylish serif strokes) Lime (the skinny version of Caroni) Avenue Lime (the skinny version of Caroni Avenue) Tabanca (dark and heavy, this is Caroni's brush version) Doubles (enhanced with fine lines) Fete (with fun little dots) Coconut (Caroni's outline style) Soursop (Outline with dots, a great display font) Carnival (a quirky and fun all-caps version) Caroni was created while staying with a friend in Trinidad, hence the names :) Languages supported: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

Jantar Flow is a humanist sanserif type family tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Flow Italic is distinct and readable. Following a proper italic construction, it shows the fun side of the family yet keeps the features of the upright. Jantar Flow – as well as its teammate Jantar Sharp – comes in seven weights from ExtraLight to Heavy, each with accompanying italics. It has a tabular and proportional set of figures in both old style and lining options, and also a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European languages as well as a set of case-sensitive characters. Jantar, the pairing superfamily. ‘Jantar’ is an old Polish name for ‘amber’, a fossilised resin – a substance that is robust and organic at the same time. These qualities somehow reflect the feeling behind the Jantar families, ‘Flow’ and ‘Sharp’. Jantar Flow was designed along with Jantar Sharp. As part of the Jantar superfamily these two faces are perfectly paired: though not based on the same skeleton, they share the same design parameters and the same character set, but each one works independently with its peculiar features. Designed for publishing for print and web, as well as for branding, the Jantar superfamily was inspired by common font pairings of the digital age like Helvetica/Times or Verdana/Georgia. Jantar Flow and Jantar Sharp communicate with individual yet complementing voices, just like two trained acrobats can perform alone but also know well how to perform together.

a, g, k and y It was a forensic examination by Jason Smith of his existing designs that laid the groundwork for FS Jack. Jason made a list of unique characteristics that would give the sans serif font its typographic thumbprint, which included an unusually large x-height and slightly off-the-wall letters like the lower-case “a”, “g”, “k” and “y”. “I wanted to make something that was slightly uncomfortable,” says Jason, “and in doing so simplify the quirkiness down to a few letters.” Fernando Mello did “the rest of the cooking”, filling the design out and making the additional weights. Tipos Latinos Upon its release in 2010, FS Jack was submitted by Fernando, who is Brazilian, for the esteemed type design biennial, Tipos Latinos, where it was selected as a winner in the Families category. It went on to be selected for type exhibitions throughout Latin America and around the world. “FS Jack is a workhorse,” says Fernando, “but also very ownable and distinctive, and available in a good range of weights, crafted by Jason and I.” Corporate “FS Jack took a couple of years to get noticed and is still fairly underused,” says Jason, “which is good in a way, for our Brandfont clients that have adopted it.” FS Jack was chosen as the signature font for The Shard in London, from its signage down to business cards. Fontsmith also worked with Lloyds Bank to customise FS Jack into a bespoke font for the bank’s updated brand identity – part of Fontsmith’s Brandfont service, which you can read about here. Fat Jack Included in the FS Jack family – just – is FS Jack Poster, the super-heavy weight of the range. “That was a last minute addition,” says Fernando, “after Jason and I started talking about how much we liked Gill KO, a typeface that is almost comically fat.”

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/

Are you ready to bring some dark and edgy vibes to your designs? Look no further than the Hellfire Flames | death metal font! With its black fire-inspired design and brutal form, this font is perfect for adding a touch of darkness to your work. Hellfire Flames is a death metal font that embodies the essence of infernal power and brutal energy. The font's letters take the shape of black flames, with a raw and aggressive design that will leave a lasting impression. The font includes both uppercase and lowercase letters, as well as a range of symbols, numerals, and foreign language support, making it a versatile tool for any project. Hellfire Flames also offers an array of extraordinary and unique death metal ornaments. These intricate designs are perfect for adding a touch of dark ambiance to your project, and are sure to impress any fans of the genre. Hellfire Flames is perfect for anyone looking to add a touch of darkness and aggression to their design projects. It's especially well-suited for projects related to death metal, black metal, gothic, horror, and other genres of heavy music. This font is also great for creating logos, album covers, merchandise, and other graphics that need a raw and intense look. Its unique death metal ornaments make it a great choice for adding an extra level of detail and flair to your designs. So why settle for boring fonts when you can unleash the power of darkness with the Hellfire Flames? Get ready to create designs that are truly unforgettable and take your work to the next level! ——— Hellfire Flames features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +238 Total Glyphs +50 Death Metal Ornaments and Splatter included! ———

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Pan-European family has 17 fonts in total, supporting the W1G character set. It spans six weights from ultra light to heavy, each with an italic complement. In addition, three condensed designs and two monospaced (typewriter) typefaces were drawn to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity. While the family is also large enough to manage complicated typographic hierarchy, SST pairs handsomely with typefaces as far reaching as ITC Berkeley Old Style®, Meta®, PMN Caecilia®, Malabar® and Neue Swift®.

Entropic Brush is a striking fat brush font that boasts a wild and rustic charm. Its decorative display style makes it perfect for logotypes, headlines, and other eye-catching design elements. The font's heavy, oak-like strokes and thick brush texture give it a bold and distinctive character. Ideal for projects that require a strong, natural presence, Entropic Brush is a versatile font that adds a sense of raw energy and untamed beauty to your designs. Its unique aesthetic makes it a great choice for branding materials that need to convey a sense of rugged, organic elegance. With hundreds of swashy and decorative alternates, Entropic brush is sure to give you a customized appearance – like a truly hand-drawn paintbrush design. Use characters _ ¤ # after any word to make a swash. Example: Spline_ Sonic¤ Brush# Use multiple _ ¤ # to make swashes of different lengths. Example: Superhuman______ (Download required.) The Entropic Brush font family includes four high-quality styles to suit various design needs: Regular: A bold statement with a natural, rustic appearance Bold: An even heavier presence for more impactful designs Italic: Adds an expressive, dynamic touch to your text Bold Italic: Combines the assertiveness of bold with the energy of italic Built with advanced OpenType functionality, Entropic Brush ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Paralucent Slab is an addition to the ever-popular Paralucent family. Paralucent is versatile all-purpose modern sans and slab serif design. Available in seven weights, from Thin to Heavy, with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. The addition of the Slab family adds even more options for running text and headline.

Hey, cats and kittens! Dig this groovy font we got for ya—Burpology! It’s the perfect typeface for all your cartoon headline needs. With its heavy weight, small counters, and tight spacing, you’ll be making a visual footprint that’ll knock ’em out! And that’s not all, daddy-o! Burpology comes equipped with automatic shuffling of three letter and numeric variations in OpenType-savvy apps, giving your words that cool, hand-drawn vibe. It’s like having your very own in-house cartoonist! So, if you want to add some serious pow and pizzazz to your headlines, just hit up your application’s contextual alternates or standard ligatures option and watch the magic happen. Don’t be a square, man—get Burpology and let your words do the talkin’! 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, Maori, 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.

The aviation world contains loads of stylish logotypes, from handwritten scripts to geometric styles and so on. The Avionic Condensed family finds its origins of inspiration in the Air China company logotype, and from there has been expanded upon to create a large stylistic family of 40 fonts. Avionic celebrates the geometric sans serif styling of the original logotype, evolving beyond the condensed all capital set logo to include a lowercase designed in parity with the original design style, as well as many weights and widths to offer a fresh diversity. Each subfamily includes a full standard character set with expansive international support of latin based languages, and 5 weights jumping from book to black, along with 5 accompanying obliques. This family is ready to chart a course for your design destination, whatever it may be. Here's what's included with the Avionic Family bundle: 370 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 5 weights in each subfamily: Book, Regular, Bold, Heavy, & Black. • 4 widths in the collection: Condensed, Regular, Wide, and Extra Wide. Accompanying Obliques with each weight/width style. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Avionic Collection is for you: You're in need of a dynamic geometric font with a variety of weights and widths for your designs You're an aviation junkie and have to have anything inspired by Air China You love the style of Bank Gothic, but really want something just a little different You are looking for a pseudo-techno style font family with versatility You just like to collect quality fonts to add to your design arsenal

Attention troops! If you’re looking for a typeface that embodies the strength and power of heavy duty industrial equipment and military weaponry, look no further than Rexlia! Inspired by the iconic Humvee, this industrial headline typeface features sleek and modern octagonal letterforms with rounded edges that perfectly capture the rugged, mechanical feel of battle-ready gear. With seven different weights to choose from, Rexlia gives you the flexibility to customize your message with precision and impact. Whether you’re looking to make a bold statement on your website or need a commanding header for your latest marketing campaign, Rexlia has you covered. So gear up and get ready to take your designs to the next level with Rexlia – the ultimate typeface for military-inspired graphic design! 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.

Welcome to the world of Stampoo, where creativity meets typography. This isn’t your run-of-the-mill typeface—this is a joyful, wild, and curvaceous font that is guaranteed to make your words pop. When you use Stampoo, your message will be transformed from a mundane statement to a laid-back expression of kindness. It’s like giving your words a warm hug, but without the awkwardness of physical contact. The rubber stamp letterforms are as natural as the grass under your feet, and the bespoke pairs will make your text flow like a mountain stream. But Stampoo isn’t just a pretty face. Oh no! This font is a true workhorse, designed to make your life easier. With OpenType ligatures, those tricky letter combinations are replaced by bespoke pairs, making your text look more natural and realistic. It’s like having a personal typographer at your fingertips, without the exorbitant hourly rate. So why settle for boring, run-of-the-mill typography when you can have the natural, creative, and joyful letterforms of Stampoo? Add a touch of whimsy to your next project, and let Stampoo do the heavy lifting. Your audience will thank you for it. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

Kaytek™ Sans is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Sans’ details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Sans draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Just like these early personal music devices, Kaytek Sans is practical, but not clinical, able to work hard while still exuding warmth and personality. It pairs effortlessly with Kaytek Slab, which is a sturdier and more expressive take on the design. Kaytek Sans comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Slab, Kaytek Headline and Kaytek Rounded are also available.

Ace Attitude is a friendly, readable font with character and flair. When I started designing this font I wanted something that was readable as well as interesting and appealing. Something that showed character. When I look at this font now I think of an old fashioned aviator. One of those poeple that likes to show off and have fun but can still follow rules. This font is perfect for logo's and branding. But its also very versatile would be great in things like magazines, posters, packaging, billboards, etc. Ace Attitude has an impressive 179 Contextual alternates. These are like ligatures, but oh so much better. These contextual alternates will give any project that personal touch - all without any extra effort. All you have to do is make sure that they are turned on in your program. Unfortunately, these do not yet show up in the sample text. To help with this I have created a demo version of the font so that you can still try it out before you spend the money. Ace Attitude also has Over 800 glyphs and includes features such as small caps, ordinals, ligatures, fractions, tabular numbers, proportional numbers, subscript, superscript, numerators and denominators.

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

Look back to learn how to look forward - Joe Girard Find yourself and share your purpose with the Caride Script. With its bold vintage script type, sometimes you need to remind others that we must look to the past to pave a better way for our future. It’s time for you to unleash the old school retro trend again. Leather jackets? Making a comeback. Pompadour hairdos? Definitely cool. 70s music? They’re sampled in the music all over our radio stations! The magnificence of the past will surely help you give a new and fresh breath of life to your projects. This font was designed for you to use in any kind of projects that you might have! They were specifically designed to fit in anywhere you want them to be. We assure you that there will be no awkwardness in the relationship between your text and your designs, they’ll get along well like old-timey partners! The Caride Script is the perfect addition to bring your perspective to the world. Have the world see you and your encompassing view of the human experience with your creations!

The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon's Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816). The Egyptian faces were also the origin of the famous Clarendon (1845) and Ionic No.5 (1925) as well as the rest of "the legibility types". In the 20th century the slabserifs became popular again with Bauhaus incarnations like Memphis (Wolf, 1929) and Beton (Jost, 1931). The Bauhaus movement, otherwise anti-serif, liked the architectural influence in Egyptian slabserifs. The Bo Berndal design of Eknaton puts some speed into the old Sphinx - the cat is back, in better form than ever! Bo Berndal, born 1924, has been designing typefaces for 56 years, for Monotype, Linotype and other foundries. Eknaton comes in five different widths, from Tight to Expanded, and is an OpenType typeface for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Eknaton is our eleventh introduction.

Brown Amsonia is a lovely script font of which letters are in handwriting to express unique, personal nuances in your designs. Such a handwriting font is available in high contrasts having noticeable differences between the bright and the dark letter parts to produce clear, firm displays making the designs look professional and modern. Besides, Brown Amsonia can express personal, artistic displays to create more interesting, noticeable designs. The letters are interconnected and their details show sharp, curvy scratches on the edges. Due to the complex font style details, this font is better to apply for big text sizes. In addition, you may enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Brown Amsonia fits best for various design projects, such as brandings, invitations, greeting cards, name cards, quotes, printed products, merchandise, social media, etc. 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.

Corsa Grotesk is our very own tribute to two typographic giants: the Futura and Avenir typefaces. It is Designed with geometric simplicity in mind with well balanced strokes and modern touch. Generous proportions and x-height with more contemporary details - the single story ‘a’ and the horizontally barred ‘k’ being just two of many examples makes it shine in every jobs it takes. Corsa Grotesk blends the classic geometric aesthetics into a well-balanced font with generous proportions and minimal contrast. It features 10 weights ranging from Hairline to Black plus matching italics, as well as Cyrillic support for Bulgarian and Russian localizations. Filled with all the essential OpenType features like tabular figures, fractions, ligatures etc, it is a great choice for branding, advertising, user interfaces or any text that needs a bit of polish and a slick, present-day look that still feels familiar. With its 2.0 version we managed to polish the font even more. We revisited every path and fixed all the inaccuracies throughout. Corsa Grotesk now comes with way better and consistent spacing and kerning, just the right amount of contrast and balance. Live Tester | Download Demo Fonts | Subscribe

Thistle Balloons is the right script font for natural, casual, personal displays because the letters are in forms of real cursive handwritings connected to each other to create togetherness and continuity nuances. This script font has low letter contrasts to show a more casual, friendlier display and a variety of letter heights. Some letters may look higher than the other ones to make them more interesting and dynamic, and such inconsistent letter sizes can enhance the natural, personal nuances to the font itself. Additionally, it is better to apply this font for big text sizes and you may also enjoy the outstanding features available here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Thistle Balloons fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. 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.

Helios Antique & Helios Stencil Check our PDF specimen for more details Helios type family is the result of a mixture between the early sans serif and the modern trends of our era. Its rational structure is subtly wider than the majority of the first sans, generating a higher impact in its uses. All the typeface terminals are more open in order to balance better the whites and blacks of Helios, and where the strokes meet it has a deeper contrast giving more legibility to the reader. Furthermore, in some letters it is possible to see some prominent features such as the leg of the "R" and the tail of the "Q", which are particular gestures that identify this type family. Helios Stencil is the tough version of this type family. All the stencil gaps were measured rigorously, thus in small sizes it conveys a neutral aesthetic whereas in big sizes a display logic appears. Helios Antique is composed by 36 styles, 782 glyphs and small caps. Besides, it has powerful OpenType features for each style, including alternates characters, ligatures, fractions, special numbers, arrows, extended language support and many more.

Jeko is an exciting geometric typeface with contemporary touches. It’s born from strong elementary shapes, with clean circles interwoven with modern cuts and sharp edges. It has a distinctive voice, retaining the simplicity and elegance of classic geometric typefaces with a fresh, stylish rework. It's bold in personality and fills the space without shouting, appearing refined and confident. It’s high X-height and strong capitals sustain a large amount of visibility across all weights, and have been optically corrected for even better legibility. It has been designed as a variable font to give lots of options and access to unique type looks; however it also includes nine weights to give just as much access to creativity to those without access to variable supporting software. Aventa’s matching italics sloped at a lively 11º help give it a full range of expressions. Its distinctive character and many variables make it a versatile, stylish workhorse, great for interfaces and design. Jeko is a re-designed form of the Aventa Typeface. Each font contains just over 570 glyphs with full Western, Central, Eastern European and Cyrillic language support. Check out Larken which is a great pair for Jeko.

Gothic fraktur inspired design, I wanted to resemble old german calligraphy but making it very geometric, so I used an isometric reticle during sketching. This is a display font, created for BIG sizes, non textual. I recommend it for branding, poster, logos or titles. Its very experimental -- it exists within the limits of legible and illegible reading. I choose the name “Garbancera” because gothic calligraphy has issues that are linked with dark, gloomy, lugubrious things or fear feelings, culturally in Mexico. I related this with death and for mexicans, death is something we celebrate and give us joy and happiness, annoying, the most representative Mexican characters, one of those is “La Calavera Garbancera” or better known as “La Catrina”, a clothes skeleton with only a hat. It was drawn this way to make a critic to all Mexicans at that time, that were poor but they wanted to represent a high lifestyle, “those that where to the bones, but with a French hat with ostrich feathers”. La Catrina was created by José Guadalupe Posada, a Mexican lithographer but also a newspaper illustrator. I think this is a beautiful font that can lead to great results, just use it wisely.

Klein PDF Specimen Klein is Zetafonts love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner’s iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions - with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full multilingual capabilities and coverage of over two hundred languages using latin, cyrillic and greek alphabets. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to french nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.

Googie Architecture, also known as "Midcentury Coffee Shop Modern," was born in California during the Atomic Age. Martini at Joe's is based on lettering from several historic Googie sources - many of which no longer exist. The futuristic Martini at Joe's collection was named for Northern California's famous Italian-themed "Joe's" restaurants, some of which are still serving up large portions of charbroiled beef steak, canned buttered veggies and pretty decent martinis. Martini at Joe's contains many fabulous typographic extras – and is available in single font packages or as a 15 font interchangeable Megaset (with "italic-esque" obliques and "retro obliques"). Martini at Joe's is perfect for use as commercial signage, on the menu for your coffee shop, supper club, tiki bar, fish grotto, smorgy, space port or destination casino. It also holds its own in any vintage store, on greeting cards, t-shirts, hi-brow gallery announcements, product skins, your 'zine masthead, on the faceplate of your futuristic microwave oven, tv dinner packaging, at millionaire's conferences or even embellishing the fuselage of your latest jet airline venture. Martini at Joe's: there's no better way to say, "Hold the olive, I'm having a moment."

This font has sort of a rustic an ancient look, like stone carvings... The lowercase j has been redesigned to better fit with the other letters, and I've also made an alternate f (as an OpenType contextual alternate) to make a tighter fit with following tall letters. 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.

URBANI is the result of a mix between Neohumanist and Neogrotesque types. The subtle narrowness of its proportions makes it ideal for composing extensive blocks of text. The slightly superior height of its ascenders, the wider proportions of its counter-forms, the addition of ink traps at certain stroke intersections; every aspect of URBANI’s design was conceived with reading in mind. The Opentype tool Alternative Glyphs is especially important, since its use is fundamental in achieving a universal and geometrical visual language through the rationalization of the font family. URBANI is inspired upon the works of Adrian Frutiger and Paul Renner, a constant source of admiration and inspiration to W. This type family comes fully equipped with Opentype tools, a huge range of alternate glyphs, fractions, modern and old style numbers, superiors and inferiors, ligatures and smallcaps. Universality is a major goal when it comes to creating our fonts. URBANI is ideally suited for general graphic design, print and digital publications, motion graphics, web design, branding and interaction design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Jumping Jess is a high quality decorative typeface making use of Stick Figures in various playful jumping poses to depict the letters A-Z. Numbers, symbols and punctuation are composed of elements from the Stick Figure design to visually complement the letters of the alphabet. With a comprehensive set of Ligatures and hundreds of Hand-kerned pairs, Jumping Jess was developed to look great with any string of letters. This font is suitable for greeting cards, sports posters, logos, signage, menus, wedding invitations, product packaging, craft, children's writing, t-shirts, quotes, social media page covers, large format event banners, book covers, magazine title pages and so much more. We highly recommend using an application that supports Open Type features. Ligatures will better display double consonants like "TT" and "LL" and other character combinations like "SH" and "ZY". Ligatures are enabled by default on some applications like Notepad and Photoshop but disabled by default on others like Word and Paintshop. FEATURES Uppercase alphabet 50+ Ligatures, 400+ Kerning Pairs Full range of numbers, symbols & punctuation Comprehensive language support* * ISO-8859-1, ISO/IEC 8859-15, Windows-1252 (e.g. French, German, Polish, Spanish, Italian, Portuguese, Finnish, Norwegian, Swedish, ...)

CONCEPT/ CHARACTERISTICS The lava/soap/pudding character of the font reminds us of a modern bitmap pixel font. »Curly lava bubble« goes even further. The rectangular hard edges expands to soft and almost organic forms. APPLICATION AREA The fancy, modern & decorative font »curly lava bubble« would look good at dis­play size for party flyer & movie pos­ter, music covers or head­lines in maga­zi­nes or websites… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Decorative Font »curly lava bubble« with 3 stlyes (light, regu­lar, bold) & 305 gly­phs inkl. accents & € KONZEPT/BESONDERHEITEN Der Lava/Seifenblasen/Pudding Charakter der Schrift lässt an eine moderne Bitmap Pixel Schrift erinnern. Wobei »curly lava bubble« noch weiter geht und die harten rechteckigen Kanten zu weichen und fast schon organischen Formen ausbaut. EINSATZGEBIETE Der Font würde sich über fol­gende Gebiete sehr freuen und sich dort wohl füh­len: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Game- und Video­spiel-Design aller Gen­res, als Head­line­schrift für print und digi­tale Maga­zine, Bücher, Web­sei­ten… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Deko Font »curly lava bubble« Open­Type Font mit 3 Schrift­schnit­ten (light, regu­lar, bold) & 305 Gly­phen inkl. dia­kri­ti­sches Zei­chen & €

The major focus of my life and ministry at this point is book design. In the brave new world of 21st century self-publishing a new paradigm has arisen: the indie small shop. One of the problems is that all books are published as ebooks, and many books are published only as ebooks. There are two problems with this: character availability and licensing. The licensing problem is solved by including an ebook license with all of the Librum E fonts. The character availability is the core of the design. OpenType features do not work yet with ePUBs [though it is in the spec, if I understand correctly]. Kerning doesn't work, and so on. So these five fonts have only the 256-character [or less] ASCII set. A separate small caps is included. It has lining figures {proportional} and small caps instead of the graphics. The other four fonts have graphics to give bullet choices in lists, oldstyle figures {proportional}, and care given to character shapes so they will work better without kerning. For a great deal, see Librum Book Design Group , for a package containing all fifteen fonts!