This font is a new fresh type of caligraphy hebrew font. The opentype features are much better then those are in the font market.

In designing the Calvino typeface family Andrea Tartarelli set himself the challenge to follow the principles expressed by the Italian writer Italo Calvino in his masterpiece Six memos for the next millenium. Exactitude and visibility are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour, lightness and quickness were added by letting the design be inspired by the calligraphic hand, following the lesson of Gudrun Zapf. The idea of multiplicity was kept central, developing Calvino in a range of weights encompassing both display and text use cases, and then expanding the design space with the inclusion of a display sub-family, Calvino Grande, to provide users with a full typographic palette to cover all editorial needs. Sharing the same formal structure, Calvino Grande sports condensed proportions, sharper details and tighter metrics. Both Calvino and Calvino Grande are complemented with a set of italic letterforms, with differences in design and slant to better work at different point size. All the 34 weights of the Calvino family come with a extended Latin and Cyrillic charset, covering over two hundred languages, and all equipped with a wide range of open type features including positional numerals, alternate forms, and stylistic sets. Four variable typefaces are also included in the full package, for any need of fine-tuning the typeface grade of weight. Special thanks go to Laurène Girbal for the help in developing the regular weight. • Suggested uses: Calvino aims to provide users with a full typography palette to cover all editorial needs. Perfect for contemporary branding and logo design, dynamic packaging and countless other projects. • 38 styles: 9 weights + 9 italics, 2 different styles + 4 variable fonts. • 779 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero • 203 Languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Lombard, Lithuanian, Tsonga, Jamaican, Dholuo, Galician, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Norse, Slovio (Latin), Volapük.

Display Prominent is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. In place of a lowercase there are short caps that are centered horizontally on the tall caps. There are also short numbers, punctuation, and miscellaneous characters.

Mavblis fonts have playful and fancy look, which may recall that seen in fifties ads. The look, which is quite bold may well allow for using this font in titles, packaging, or catchphrases. There are also some ligatures and alternates encoded, so you are not stuck with one look in case you require to add some variety to your text. There are over 900 characters in each font, and many languages are served.

The cool, the sans and the light: Mudstone fonts are proudly packed with nice oddities and quirks. These are definitely fonts for getting noticed, in an affirmative, authentic way. Mudstone fonts are all caps, each with at least 2 sets of uppercase letters that will cycle at the command of the contextual alternates feature. There are also stylistic alternates in each font, for that extra something. Critically cool, seriously creative, dangerously unique. Definitely trying? Cool!!

Insigne Abstractions is a break from working with letterforms and a chance to play with pure abstraction. These ornaments are purely nonrepresentational, and are not letterforms. The abstractions are organic, and some would describe them as magnifications of microorganisms in black and white. There are 72 different ornaments this package. Some potential uses for these ornaments include alien alphabets, navigation buttons for a website, decorative elements, inspiration for logos or background textures.

Grafista is an extrapolation on what fonts are used for: in spite of the possibility to use it for setting text, Grafista strives when used as a texture library, the same way that one would set up tiles. Thus, Grafista was built as two different things compiled in the same font: the letterforms (for setting text) and the texture library. Both of the sets are monospaced (with every glyph having the same width), but the letterforms are half of the texture tiles' width. On the tech side, the letterforms are 500/1000 UPMs, while the tiles are 1000/1000 UPMs.

October is the season for pumpkins - some of them are meant for soups, salad or other kinds of food. Others are cut into creepy looking pumpkinheads...and then there are the ones that are used for fun and games only! And that is exactly what this font is about! Pumpkin Boy is my laid back comic font with a jumpy x-height and crunchy lines. If you choose to write in uppercase only, the letters are a bit less funky, but still crunchy and great for headlines. I've added ligatures for double letters substitution for the most common letter combinations.

Welcoming to a new script font from letterel "Beyond Eternity" Beyond Eternity is a delicate script font with opentype featured such as ligature, swash and alternates. There are two styles for uppercase, a casual one and alternates one with beginning swash. For lowercase there are both beginning and ending swash to complete your design needs. All characters are coming with PUA encoded, so they are accessible. If you are not common with opentype featured you can use Beyond Eternity Alternates to access Uppercase Alternates and Beyond Eternity Swash to access lowercase swashes with ease. Happy Design

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

DIGOT 03 is an innovative two-font family that blends minimalism and geometric precision to create a visually striking and modern design. These fonts are perfect for those seeking a clean and contemporary look for their projects. --- Usage Recommendations DIGOT 03 is a font that thrives in environments where simplicity and clarity are valued. It works exceptionally well in both digital and print formats. Consider using DIGOT 03 in the following situations: Web Design: DIGOT 03 can add a touch of modernity to website designs, providing a clean and contemporary experience for users. Poster Design: Whether creating event posters or advertising material, DIGOT's bold and eye-catching letterforms make it a perfect choice for grabbing attention. Logo Design: This font, despite its very experimental approach, can help establish a strong and memorable brand identity. Its simplicity allows the logo to be easily recognizable and versatile across various marketing channels. Iconography: As DIGOT 03 is built upon geometric principles, it excels in creating visually appealing icons and symbols that follow the same minimalist style. --- DIGOT 03 is the perfect font for designers and creatives who appreciate simplicity and have a keen eye for detail. With its unique minimalist geometric style, DIGOT offers endless possibilities for creating clean and impactful designs.

Just like the M.C. Escher impossible figures and optical illusions, "Denedo" is a font that is impossible to construct in three dimensions because it only exists as a drawing. This font is based on the "0, 1, 2, 3, 4, 5, 6, 7, 8, 9" characters of one of the alphabets published by Nedo Mion Ferrario in the "Letromaquia" exhibition that was shown in Caracas, Venezuela in the 70's. The reason why I chose to restore and complete this font is that unique and exceptional personality that each word acquires when it is written with this alphabet. Denedo is a typographic family in three styles: Denedo 1A, 1B and 1C. When mixing them in big sizes you will emphasize the balance and incongruity of its shapes, providing originality and a unique identity to every word. All of the 3 variations include a complete character set with the lower and upper case letters, numbers, accents, diacritic signs, punctuation and monetary signs. All the fonts included in this family are available in Open Type format and are perfectly compatible with Mac and PC. I want to express my sincere gratitude to all my friends at Typophile who supported and motivated me during the final stages in the development of this font.

Bo Berndal, the master Swedish typographer, is the eponymous designer of Berndal, a contemporary text family with five different styles. This family represents a new achievement for Bo Berndal, who has spent many years working to optimize text legibility in the printed media. Several small tricks make the Berndal family an interesting milestone in legibility. Berndal's letterforms contain large x-heights. Large x-heights open up the counterforms of letters, making text appear lighter on a page, but their correspondingly shorter ascenders and descenders can hinder legibility. This does not occur in Berndal at all! Coupled with this experiment, Berndal's various font weights display a certain softness and roundness. The letterforms themselves are relatively wide, with an overall consistency in width. The calligraphic nature of the strokes has been minimized, yet a contrast stroke-thickness is still to be noticed within the alphabet. Berndal's five styles offer almost everything that one could want from a good text family. The Regular weight may be paired with Small Caps, Italic, Bold, and Bold Italic. All styles ship in the OpenType format, and include tabular and old style figures. The two italic weights are made up of true italics, not obliques. The Berndal family is a part of the Take Type 5 collection from Linotype GmbH."

Talking about the numerous types that today bear the name of Giambattista Bodoni are a kind of tribute as much to his reputation as a printer as to his ability as designer and engraver. In fact, all of them tent to be more in the way or style of Bodoni than simply copy of his letterforms. Like many other type designers, we’ve been seduced also to develop our own point of view of his work, nowadays enriched by some features of OpenType format that allows a variety of combinations: standard ligatures, discretional ligatures, stylistic alternates and old styles figures. Whereas the Bodoni serif in the capitals was of the same weight as the thin stroke but joined with a very slight fillet (Bracket) and the lowercase serif were like his French rivals, the Didots, featured straight- edged serifs that were unbracketed. The ascenders and descenders of this new Bodoni are shorter, giving in this way, more space for enlarge x high. Specially designed for editorial design and advertising, can be used in magazines, annual reports and all kind of fine print materials or web pages. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning.

To obtain maximum pleasure in working with Hangulatin, please use the typeface as follows: 1 Open an OpenType-savvy program 2 Select the "Hangulatin“ typeface. 3 Copy the following test text into your document: HEL LO WORLD ! THE QUICK BROWN FOX JUMPS O VER THE LA ZY DOG . If this fails to bring about the desired result, please make sure that you are using an OpenType-savvy program and that usage of the OpenType features is activated in that program. Standard graphic programs are suited to that purpose. The same applies to Microsoft Word starting from the 2010 version upwards.To have fun and success with your new typeface, please write all words in the format shown in the sample text, i.e. all syllables need to be written in capital letters and separated from one another using spacecharacters (for single letters leave 2 spaces). If, however, a desired syllable is not to be substituted, proceed as follows: Please check + to see whether it is a word from the English language; + whether the word has been spelled correctly; + whether the word has been subdivided into syllables correctly; + whether the syllable has been terminated with a space character (allow 2 spaces for single letters).

The letters in this font are made by chopping bits from footprints. Individual letters are sometimes very hard to decipher, but when put together as words they are usually readable. In Pedestrisan-Regular, the original version of this font, the upper-case letters have toes on the top the lower case letters have toes on the bottom. All the feet with letters are right feet. The upper case and lower case do not mix. In 2020 two alternate versions were created. In Pedestrian-Alt all toes are on the top but the lower-case letters are left feet. In Pedestrian-AltTwo all toes are on the bottom with the upper-case letters being cut from left feet and the lower case from right feet. Both the alternate styles also have an alternate set of numbers on the unicode circled numbers that can also be accessed with an OpenType feature.

Compliments was inspired by a few hand-lettered words on a 1930s brochure by Western Union entitled “The Yellow Blank is Correct for Every Social Need.” It is now available in OpenType format with contextual alternates for a better script effect.

Compass St – a new addition to the existing Compass TRF Stencil fonts, originally released in 2010. Package consists of two fonts with rather different, both decorative, styles. Typeface is released in OpenType format with extended support for most Latin languages.

FT Thyson is a powerful and elegant display typeface. can be used to present your ideas in sports/fitness or editorials, Its weight is superior in posters, social media, headlines, titles, large format print - and wherever you want to be noticed.

Churchward Ta Tiki is a new font release by BluHead Studio, LLC from the exciting and unique typefaces of New Zealand designer Joseph Churchward. We will be releasing fonts from his extensive library in OpenType format on a regular basis.

This summer there's LOVE FOR SALE! Come get some... Love4Sale is a sexy, boldish font that will certainly steal your heart away. It contains a wide range of accented characters and is available in Truetype, Opentype and Windows PostScript format.

Containing over 130 symbols. Unlike traditional western zodiacs, the Celtic zodiac contains 13 signs instead of 12. This series contains the zodiacs, the planets as well as the Ogham numbers. NOTE: this font comes with an interpretation guide in pdf format.

Doodled, whimsical, curly "capitals" (some of which are lowercase styles) are paired with unicase lowercase letters in a playful mix of capital and lowercase styles.

“Aeternus”, a new geometric Sans Serif typeface, with matching italics. The combination of several weights, provides versatility in any text usage. Developed in a range of nine weights from thin to heavy, with a matching set of italics, Aeternus has been designed to optimize the space and preserve the legibility in any text size. Use effortlessly this typeface for titling, contemporary branding, web design, UI/ UX design, clothing, large print formats. Specifications. - Files included: Aeternus Thin, Aeternus ExtraLight, Aeternus Light, Aeternus Regular, Aeternus Medium, Aeternus SemiBold, Aeternus Bold, Aeternus ExtraBold, Aeternus Heavy with corresponding italics - Formats:.otf - Multi language support (Central, Eastern, Western European Languages)

Now even more design possibilities with the popular DIN Next. With its technical and neutral character, DIN Next has earned a permanent place in contemporary typography. Now, DIN Next Slab expands the font family further, offering new design potential. Now comes the next step, DIN Next Slab, also produced under the direction of Akira Kobayashi. On a team with Sandra Winter and Tom Grace, Kobayashi is creating the new font variant based on the optimized shapes of DIN Next. The expansion will make the popular font all the more flexible and versatile. Apart from that, the geometric slab serifs underline the technical and formal nature of the font and emphasize a central design element of DIN Next. However, the team did have some challenges to overcome. While it is relatively easy to imagine DIN Next Light with slab serifs, the amount of available space quickly disappears when it comes to the Black styles. Winter explains that many tests and trials were necessary to find a compromise between space, letters and the serif shapes. Experiments with modified contrast in the weight or only one-sided serifs were quickly abandoned. The central, technical and powerful character of the font changed too much. Nevertheless, it was necessary to simplify slightly the shape of some letters, such as the ‘k’ or ‘x’, for example. These changes, first developed in the Black styles, were applied to all weights in order to lend the font a consistent appearance. Like DIN Next, DIN Next Slab also has seven weights, which cover the range from Ultralight to Black, each with matching italic. There are various character sets in all of the styles and the four middle weights have small capitals available. DIN Next Slab harmonizes perfectly with the styles of DIN Next: the basic letterforms and weights are identical. Both versions of the font can work together perfectly, not just in headlines and body text, but also within a text; they complement each other very well as design variations. With the new DIN Next Slab, Monotype expands the DIN Next super family consistently. With DIN Next Slab, you can underscore the technical and formal nature of the understated font not only in headlines, but in texts, as well. In this way, you have new and diverse potential for application, thanks to the way the different styles of DIN Next combine perfectly.

Conigen Modern is a modern typeface that looks both futuristic and contemporary. The lines are sharp and clean with an aerodynamic shape that exudes a modern and technologically advanced feel. Perfect for technology design and branding. There are 12 fonts from Regular to Black and italic fonts are also available

Oceantide Display is a whimsical and highly stylized nautical-themed font suitable for display use. The main focus is on standard English capital letters, with a few stylistic alternatives included. Lower case letters, numbers, and some symbols are included but are limited and there are a few limited international letters.

Ratatam is a variable egyptian font face. There are eight weights from thin to black, but a lot more opportunities with the variable font, and a decor style with inner elements. Useful open type features, which are optional as well as contextual alternates and positions, are defined, all small caps integrated.