Clever Science - 11 Quirky Education Theme Font is a delightful and versatile typeface designed with an education theme in mind. It features quirky, rounded characters with a playful and cheerful appeal at each endpoint. This font can be used either on its own or in combination with its various charming variations. With its 11 distinctive variations, including regular, lab, DNA, electric, tube, ruler, gear, microscope, and more, Clever Science brings a fun and educational atmosphere to your designs. It's perfectly suited for projects related to children, schools, education, cheerfulness, playfulness, and kindergarten themes. This font is an excellent choice for creating logos, crafting projects, invitations, children's activities, birthday cards, greeting cards, stickers, children's books, and kids' magazines. It seamlessly integrates into designs related to children and education. With its playful and educational theme, Clever Science helps you create engaging and charming visuals for young audiences and educational purposes.

Bilokos Pro is a cool and modern display font. Designed by experts to make your design look out of this world, this font has the potential to take your creative ideas far. This is a condensed sans serif display font. On the one hand, it has rounded curves with very open terminals that make this font family elegant, user-friendly and contemporary and on the other hand very useful for writing titles in any medium. It also comes with stylistic variations of 0-9, A-Z and a-z to satisfy the most demanding professionals. It has OpenType features like full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences. With its large character set, it meets the needs of professionals because it will support several languages ​​of Western Europe, Eastern Europe, Central Europe, Greek and Cyrillic for international communication.

Ceebo is a friendly sans-serif, which show some aspects of a humanist and grotesque typeface. It retained more details of writing and got some forms and characteristics of an italic. The font contains some alternative glyphs. It also contains some ligatures and discretionary ligatures. In addition, there are adjusted figures and additional character for uppercase letters, lowercase letters and small caps, which react by OpenType-Feature. The font was designed to stay legible also in small sizes: beside as possible open counters, a tall x-high, distinct vents and cuts, it especially are the details of the glyphs which make it discernable. The regular weight is slightly thinner than other sans-serif fonts, moreover the diacritics and small glyphs were designed for small sizes by taller and more open forms. The resulting “ruggedness” is mellowed by half-rounded stems and pointed stem ends.

Palatino Sans was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. The fonts in the Palatino Sans family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans can be mixed well with Palatino and Palatino Sans Informal. Palatino® Sans font field guide including best practices, font pairings and alternatives.

ITC Flora is the work of Dutch designer Gerard Unger, and is named for his daughter. He started by doing calligraphy experiments with felt-tip and ballpoint pens, and developed these drawings into a formalized script typeface. Swiss typographer Max Caflisch advised the Dr.-Ing Rudolf Hell GmbH technology firm to add a new round-nibbed script face to their Digiset type library, and in 1984, Flora was released by Hell. Unger used a chancery cursive skeleton in this design, which imparts grace and movement. Flora was also intentionally designed to be simple and sturdy, and with its minimal variation in thick/thin stroke ratio, it worked well on the early digital typesetting machines. In 1989, the International Typeface Corporation released the font. ITC Flora continues to work well on current printers and typesetters, and it has an enduring popularity for uses that range from short text passages to display headlines.

CA Oskar came into being as a custom typeface for the international Traumzeit music festival. As a substantial part of the new corporate identity, it had to be characteristic, but also flexible in use. Starting with the design of compressed caps for headlines, the typeface was soon expanded by a condensed weight for setting of text and further developed into a fully functional font with two widths and two weights. Both weights are very space-efficient, which was -- apart from aesthetic considerations -- an important issue in the process of the design. CA Oskar is a mixture of industrial harshness and friendly round forms, reflecting the spirit of fusion, which is basically what the whole festival is about. Its very slim proportions in two widths make it an attractive alternative to fonts like Alternate Gothic, but CA Oskar adds an extra portion of personality and a coherent choice of weights.

Square Sans Pro is one of Parachute’s most popular typefaces. It has been used by the likes of companies such as Samsung and organizations like the European Commission. Now a new version has been released. Square Sans Condensed Pro is a square-shouldered, modern and self-assured text typeface which lends style to a variety of projects. With its generous x-height, full-bodied counters and uniform stroke weight, it provides high legibility and uniform typographic color at all sizes. This is an exceptionally warm and comprehensive type family -with slightly rounded edges and softened curves- which possesses a robust and friendly appearance. The family consists of 12 fonts -from extrablack to thin- including true italics. It supports opentype features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Latin, Greek and Cyrillic. Download its complehensive PDF Specimen Manual for further details.

My son’s name is Ata Caner Yüksel. After building this typeface, I decided to honor it with my son’s name. I think I fully reflects the character I created in my mind. Ata typefamily, only one of the four other deep end with rounded corners consist of sharpened flat plate. Matched to one another and are optimized for screen. The family has eight weights plus matching italics was designed by Bülent Yüksel in 2016. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, way-finding and signage as well as web and screen design. ATA provides advanced typographical support for Latin-based languages. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures, Stylistic Alternates in just one touch easy In all graphic programs. You will enjoy using it.

MIX SONIC is a font pair inspired by the night sky. You get a round, bouncy and plump decorative san serif in MIX SONIC MOON and an all-uppercase and moon and stars dingbat hybrid in MIX SONIC STAR. The shapes of these glyphs capture the various phases of the moon, and how it lights up eerily lights up the night sky at each phase. MIX SONIC MOON and MIX SONIC STAR are great additions to your font collection. Make it a go-to font for all your projects of the mystic, astrology, magic, zodiac, elemental, witchcraft or divine variety. Use together, or separately, both font sets are sure to delight! MIX SONIC MOON comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥♥✿•· ÷×+−±≈=≠≥≤[]<>:;’”,.\|/?{}“”‘’-–—_… ©®™‹›«»°¹²³ªº¡¿₱¢€£¥½¼¾¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇÓÒÔÖÕŌŐ ØŒŔŘŚŜŠŞȘŤȚÚÙÛÜŮŰŬŪŲẂẀŴÝŶŸŹẐŽŻÞẞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñňóòôöõōő øœŕřśŝšşșťțúùûüůűŭūųẃẁŵýŷÿźẑžżþß MIX SONIC STAR comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstu-vwxyz 0123456789 !@#$%^&*()`~+= []<>:;’”,.\|/?{}“”‘’-_‹›₱¢€£¥ Fellow witches, enjoy!

Introducing the Inflate PTx font family, a delightful and playful typeface collection that embodies the buoyant spirit of celebration and festivity. This font can be use in old and new apps that use/read fonts, because it's format (old school format :)), not OpenType SVG format. To install fast on the PC: right click in the OpenType file, then "Install". But if you want to open the file, please be pacient. It takes time to open and read the OpenType file depending of the capacity of your PC. The Inflate PTx font family is tailor-made for creative projects, from birthday party invitations and children's book illustrations to social media graphics for Instagram or themed event posters. Its rounded edges and bubbly forms infuse any design with an infectious sense of joy and lightheartedness, making it an ideal choice for those seeking a playful and festive typographic solution.

I became interested in designing Bodoni Classic because of a lazy graphic designer at Jacques Damase publishing house. He had to change a single letter on a bookcover about J. B. BODONI. The French call him Jean Baptiste instead of Giambattista! And that unknown graphic designer just took any old “J” from some newly cut Bodoni. All the new Bodoni cuts have square serifs, whereas the originals had rounded serifs and slightly concave feet. The single letter “J” with the squared off serif was for me like a road sign to start redesigning the entire Bodoni family. That’s exactly what I started in 1993 and a dozen years later I am finished. Okay, I am still adding new Bodoni Classics, but those are my personal additions. Recently I designed a family of seven »Bodonian Script« fonts, that can be mixed with most of my Bodonis. Yours very retro, Gert Wiescher

The inspiration for the Okaytext family came from seeing so many fun, highly individualized special-use fonts. Alongside this massive selection, the choice of simple, plain & readable typefaces is relatively spartan. As a newly established foundry, we feel it a "must" to contribute our very best work to this important but oft-neglected genre of fonts. So the construction of the Okaytext family began. We feel that a rounded, sans serif font should be easily read, and very clean looking. It does not need to tire the eyes with any needless twists or silly quirks. So is Okaytext, it exists simply to be read, and hopes that it is a pleasant read. Okaytext is perhaps our most versatile font yet, its ultra-simplicity makes it adaptable to the demands of almost any typeset environment. Okaytext is extended, containing the complete West European diacritics & ligatures, making it suitable for multilingual environments & publications.

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

Bfrika is an 'Africa inspired' typeface and a contribution for the typographic issue 'National Typographica' of I-Juici Magazine, in South Africa. This geometrical decorative design represents bold simplicity, directness and rythm. The name evolved from text for the spread in the magazine. The B replaces the A. Africa be free. Bfrika. The concept behind Bfrika is to generate an unpredictable visual rhythm in an attractive decorative presentation. Filling up the white space around the letters accentuates form over function, thus creating an interference of visual impressions with its legibility. This visual rhythm is amplified by its redundancy in a text, only pausing at a break or a word space. Based on the concept of separate printing forms in letterpress, Bfrika Two Tone and Bfribat Two Tone separate the letter from the outside form in two fonts. Placing two text frames exactly on top of each other and assigning each part of these font to a frame in a different color, offers a quick way to add color. Originally Bfrika was designed for I-Jusi magazine #17, National Typografika, South Afrika 2001. Bfribat and both two tone fonts were created for Building Letters, a fund raiser for orphanages in Kenya and Uganda (www.buildingletters.org) and are also available for Mac and PC at www.hollandfonts.com and will be distributed in 2004 through associated foundries.

Stamen is the answer to a big question: What would happen if one tried to create a typeface that was ‘out of time’? If a type designer was to turn off the internet and put away the type specimens and just try to explore limbic, phantom history, what might that look like? No slavish explorations of the past. No gropings toward the future. No exhaustive core sample of the contemporary. Instead, using what one remembers of history and our collective vision of the future (usually a future imagined from the past) and channeling that into something that is, hopefully, new… The Bentons meet Frutiger for a Manhattan on a space station while Matthew Carter sways to the sweet sounds of the chorale that occasionally played through the halls of Stephenson Blake. This smear of implicit history expressed without explicit reference—this is Stamen: a family of 12 typefaces with a ton of alternate characters. The bold weight was designed for the LP “I Thought the Future Would Be Cooler” ( http://ittfwbc.com/ ) by the band YACHT in response to their request for a typeface that was ‘lost in time’, and refers to neither strict historical models nor purely futuristic forms. I built a small family out from there. It works well in text, but just as well for display setting. I think you’ll enjoy using it.

This font has been used for signage and wayfinding in the new Mbombela Stadium built for the FIFA World Cup 2010 - and it looks strangely appropriate there: the font has a certain hand-painted, relaxed charm so fitting of the south African culture. Interesting and bold choice of the architects. :) Anyway, the font has now been updated with our usual multilingual glyphset, and is ready to use around the world by soccer fans and typo fans alike. 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.

Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

Ooh so soft, so curvaceous, so voluptuous and so swash-buckling. Hey, I'm talking ’bout Petals BF! Here’s a design inspired by the work of Dave West and infused with a plethora of pleasingly plump letterforms, with swashes reminiscent of 60s and 70s types. But here’s the twist: where you might typically expect to find ball terminals, you'll experience some sensuous curls; and some playful letterforms such as lowercase h, k, m, and n, may even call to mind that groovy look of ’60s bell-bottoms. Spread across its capitals and lowercase are swash variants for beginning, middle and ending letterforms —candy for your eyes. Petals BF is where Didone style happily marries the organic and curvaceous forms of Art Nouveau. Strange I know, but so is a duckbill platypus —and somehow they all seem to work surprisingly well. Among the many typographic niceties you'll discover, are such Opentype features as Contextual and Stylistic alternates, Ligatures, Case-sensitive forms and Fractions. Please note: these magical features demand the use of opentype-savvy applications such as Adobe Creative Suite, QuarkXPress and etc. Petals BF is multilingual, and speaks the languages of Western, Eastern and Central Europe, in addition to Turkish and Baltic. It gets around. So let your creativity blossom with Petals in projects that involve headlines, magazine layouts, product packaging, logos, signage, branding and etc.

Redfighter is an attention-grabbing display font with a games theme, featuring large letters and a rectangular shape with sharp corners. This font shows large letters that demand attention and make a statement. The generous size of each character ensures maximum visibility and impactful design elements. This design choice allows this font to stand out and grab the viewer's attention with its imposing presence. The rectangular shape with sharp corners in Redfighter adds a sense of structure and strength to the font. The clean lines and defined angles create a visually bold and striking appearance. This unique feature evokes a sense of power and precision, reflecting the intensity and competitiveness found in the gaming world. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Redfighter fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects that aim to create a strong visual impact. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Decipher, designed by Mans Greback, is an edgy graffiti-inspired font that captures the essence of street art and hip-hop culture. With its cool, calligraphic and marker-style handwriting, Decipher brings the energy and speed of urban life into your designs. Perfect for projects that require a touch of street-smart attitude, this font will take your creations to the next level. The typeface comes in four styles: the Regular style and the Symbols style, both provided in Bold. The Symbols style is a unique addition, offering a variety of tag elements such as swashes, arrows, stars, and crowns to enhance your designs further and unleash your creativity. 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. Mans Greback is a Swedish typeface designer dedicated to crafting diverse and versatile fonts. With a passion for a wide range of typographic styles, he has developed a range of fonts that are appreciated and utilized by designers around the world.

My motivation for designing the Lalibela family (which is based on Bodoni) was to pay homage to Ethiopic script. The script has been around for about 3 000 years, but I took artistic licence to deviate from the original model and add personal touches. I chose Bodoni as a historical model because of its display value and not its text size use because the extreme contrast made it difficult to read at small sizes. A Modern typeface characterized by consistently horizontal stress, flat and un-bracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography two-hundred-year journey away from calligraphy. The austerity, simplicity and greater contrast style was perfected.Contrary to all the refinements in Bodoni, I have revisited calligraphy with the font Lalibela that mimics Ethiopic Script. It was drawn with a much larger x height and less geometric than Bodoni for its primary use as a display font. For example, a lot of italic serifs were added to the roman face as well as 16 additional ligatures to obtain more a feel of calligraphy. I made the serifs thicker and bracket one side with straight steps obtaining a reduced contrast to withstand breaking up at smaller sizes.An additional variant, "Lalibela Alternate" was designed to provide an interesting mixing possibilities with the Bold face for more expressive headlines.

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

Introducing Debusen—the perfect typeface for those who want to add a little doughy goodness to their designs! With its rounded, soft edges, Debusen is the ideal choice for anyone who wants to make their words feel safe and harmless. Whether you’re designing a fun, playful logo or creating a warm and welcoming message, Debusen’s fluffy softness will help you convey your ideas with a gentle touch. With its soft, rounded curves and gentle letterforms, Debusen is the perfect choice for a wide range of applications. Whether you’re designing a cute and cuddly children’s book or creating a warm and inviting brand identity, Debusen’s tender expressiveness will help you connect with your audience in a meaningful way. So why wait? Whether you’re a professional designer or just starting out, Debusen is the perfect choice for anyone who wants to add a little extra sweetness to their designs. Try it today and see for yourself just how delicious your designs can be! 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.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

Introducing Vactic, the typeface that will take you on a journey back in time to the days of ticker tape parades and room-sized computers. Designed with a keen sense of nostalgia, Vactic captures the essence of the classic pixel board with its round, pinpoint pixels that create a stunning visual impact. This unique typeface offers a range of colors and effects to suit all your design needs. For a punch-card impression, try using black on beige, evoking the feeling of a bygone era of technology. To replicate the iconic pixel board lighting, experiment with red on black, adding a touch of retro glamour to your design. Whether you’re creating a design for a retro-themed event or simply looking to add a touch of nostalgia to your branding, Vactic is the perfect typeface for the job. With its round, pinpoint pixels and range of colors and effects, Vactic is a true testament to the timeless appeal of classic 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.

It's been a while since I named a font after a sheep, so I figured it was about time. The Blue Sheep, or Naur (Pseudois nayaur), is actually an existing species of sheep. It is found in the Himalayas and is a major food for the very rare snow leopard. Peter Matthiessen wrote a book about it called The Snow Leopard. My Blue Sheep font is not rare, nor threatened. It is an uplifting text font. It is very legible and fun to use and will keep you bleating for more. Comes with a flock of diacritics.

K-haus 105 is inspired by the work of graphic designer and typographer, Herbert Bayer, during his time at the Bauhaus around 100 years ago — work that kick-started graphic design as we know it, to this day. It owes something to the simple geometry of Bayer’s hand-drawn, ‘universal typeface’, updated and expanded to deliver a clean, balanced, geometric sans for today. Also available as K-haus 205 , featuring a few, more 'daring' characters here and there, chiefly in the lower case set. Both variations include an extended character set, featuring accented characters for Central European languages.

Introducing Mister Dangerous, inspired by the graffiti tags found in urban street art. Designed with dynamic freestyle flair, it brings the spirit of graffiti to your creative ideas. This font is the perfect choice to add an urban touch to your designs, including films, posters, stickers, labels, flyers, apparel, packaging, and more. Mister Dangerous features All-Capitals with numerous special characters for endless combinations, along with additional swashes to make your work stand out. Embrace the artistic power of Mister Dangerous for unforgettable and edgy designs. What you'll get : All-capitals characters Numbers & punctuation Stylistic alternates

Inspired by both turn of the century neoclassical forms and Dutch Fleischmann Type, Garvis is designed to bring the character of those typefaces into more modern times by increasing the sturdiness of the forms without losing their character. At display sizes, this typeface displays the subtle inconsistencies commonly found in traditional metal type printing. This detail is designed to virtually disappear at text size so as not to become distracting while still giving the text a warm, human quality. Garvis includes support for all contemporary (and many historic) Latin orthographies as well as complete IPA support.

The basic letterforms of this typeface were found in a lettering book, Rotalución Decorativa, published in Barcelona in the 1940s. Add a lowercase and a few flourishes suggested by a hand-painted sign seen at a neighborhood tavern on Staten Island, and you have a seriously fun face. To add even more spice, the font also contains alternate characters in the Logical Not, ASCII circumflex and tilde positions. It also contains a few alternate characters in the ASCII circumflex and tilde positions to perk things up. Both versions of the font contain characters to support all major European languages.

Amongst a batch of antique sheet musical instruction booklets offered for sale online was a piece with Art Nouveau hand lettering on the cover entitled “Seven Musical Travelogues for Piano”. This design served as the inspiration and model for Ragtime Gal JNL, which is available in both regular and oblique versions. The font’s name comes from the line ‘Hello my baby, hello my honey, hello my ragtime gal…’ from the 1899 song “Hello Ma Baby”; a tune that found a new burst of popularity in an odd way within a 1955 Warner Brother’s cartoon [“One Froggy Evening”].

The new Declaration font set from P22 features two lettering fonts based on the Declaration of Independence of the United States of America. A script font that features the look of classic 18th Century penmanship, with a slightly irregular edge, as found on documents made with ink quill pens on vellum or parchment. The accompanying Blackletter font is also derived from the Declaration of Independence as it was used for emphasis and of course the famous document title itself. A third font, which features the signatures of the signers of the Declaration of Independence, is also included.

The Remaid Typeface font is an elegant serif typeface with subtle details. This neat font can add modern and fashionable brand appeal. This versatile display typeface has enough character for logos and branding, as well as headlines, apparel, bridal and more. Keep it classic, or decorate it with ornate alternatives to uppercase and lowercase glyphs! Important information: To access the alternatives, you must have access to an older version of Photoshop to copy/paste the glyphs from the included PSD, OR the Glyphs Panel, which can be found in Photoshop CC or any Version of Adobe Illustrator.

Meet Grand Cru – a new approach to serif type. The type family is divided to three groups – Small, Medium and Large – according to the amount of contrast in letterforms. Forget about those old Text/Display categories – it’s up to you how to use your typeface. While the Grand Cru Large fonts are highly decorative, the Small versions function as reliable workhorses. All Grand Cru fonts come with thoughtful Open Type features – built-in small capitals are found in all of them, while the italics come with handsome Swash capitals. The romans are equipped with intelligent numeral styles including subscript and superscript and fractions.

Palo is a 72 style utility type system built around 4 widths and 9 weights plus matching italics. It's semi grotesque appearance gives it a unique personality while the stylistic alternates give a true sense of flexibility and customisation. Design features within Palo are evident without being excessive. 3 stylistic sets provide a range of functional to fluid design approaches. Case sensitive punctuation & ligatures offer a professional feel. The italics have been optically adjusted to improve their weight balance and on select lower case glyphs they feature unique designs to make the italics a feature unto their own.

Urbane Adscript is a script companion to Urbane. A monoline semi-linking sans, it has the same number of weights and the same cap height and x-height as the Urbane family, meaning the two can be used together harmoniously. It features swash capitals that can be toggled on or off in the Opentype panel, or chosen individually from the Glyphs menu according to taste. Almost every capital has a swash alternate, and many have two. In Adobe Illustrator, the more decorative swash can be found under “swash”, the less decorative as an alternate. Also includes lining, tabular and old-style numerals.

I found this type specimen on the statue of Jan Hus in Prague’s Old Town Square. The statue was designed in 1903 by Ladislav Saloun, and its writing is the cutest Nouveau font I've ever seen. Filling in the blanks, I realized the need for a standard lower case because the caps are so wild. The result is a very type-able and dynamic Nouveau. I encourage you to mix up your upper and lower cases for curious results. Use the lower case for running type. Go to http://facebook.com/frostfoundry to share this and see more!

This typeface is inspired by the powerful political and social posters by Paul Peter Piech, a tireless artist and printer. Questioned about his endless energy and focus on work, he said "I don't want to sit around and be silent". Pieches is a linocut-looking font heavily loaded with interlocks, including vertical pairs of letters. There are alternates also, and not quite a few: four glyphs for each letter so countless expressive possibilities are open. Graphical elements are also included, for added wilderness. This is a loud-speaking font for those who don't want to be silent. Come on, let’s shout!