A type designed in a grid, like on display panels Type is not only printed. There were always and still are a number of forms of type versions which function completely differently. Even very early in the history of script there were attempts to combine a few single elements into the diverse forms of individual characters and also efforts to construct the forms of letters within a geometric grid system. The “instructions” of Albrecht Dürer are probably most well-known. But although designers of past centuries assumed the ideal to basically be an artist’s handwritten script, the idea which developed in the course of mechanization was to “build” characters in a building block system only by stringing together one basic element — the so-called grid type was discovered, represented most commonly today by »pixel types.« But even before computers, there were display systems which presented types with the help of a mechanical grid display, like the display panels in public transportation (bus, train) or at airports and train stations. In a streetcar, I met up with a modern variation of this display which reveals the name of each tram stop as it is approached. This system was based on a customary coarse square grid, but the individual squares were also divided again diagonally in four triangles. In this way it is possible to display slants and to simulate round forms more accurately as with only squares. The displayed characters still aren’t comparable to a decent typeface — on the contrary, the lower case letters are surprisingly ugly — but they form a much more legible type than that of ordinary [quadrate] grid types. DeDisplay from ingoFonts is this kind of type, constructed from tiny triangles which are in turn grouped in small squares. The stem widths are formed by two squares; the height of upper case characters is 10, the x-height 7 squares. DeDisplay is available in three versions: DeDisplay 1 is the complex original with spaces between the triangles, DeDisplay 2 forgoes dividing the triangles and thus appears somewhat darker or “bold,” and DeDisplay 3 is to some extent the “black” and doesn’t even include spaces between the individual squares.

Modesta Sans is a Neo Grotesque sans serif typefamily of seven weights plus matching italics. Inspired by Didone serif fonts and the first Sans serif types from the late 19th century and early 20th century, It reduces many of the eccentricities in order to make them more suitable to modern tastes. Every weight has more than 220 characters and includes uppercase, lowercase, numbers, special characters and a powerful opentype features. Perfectly suited for graphic design, headlines, advertisements, and any display use. It could easily work for editorial design, corporate, web, signage and many other uses in print and digital media.

SK Pangramma is a modern universal geometric typeface. For greater universality, it was developed in two stylistic variations: sans serif and slab serif. The uniqueness of the typeface is supported by stylistic alternatives that give the character set the spirit of modern typeface design. The SK Pangramma typeface is named this way because it supports more than 200 languages, including the Extended Latin Alphabet, Cyrillic, and even Greek. Thanks to a wide range of characters, alternatives, and two stylistic variations, the typeface is great for design projects of any complexity, no matter whether it is printed products or web design.

Rozanova glyph proportions and shapes make it functional, legible and with personality. The personal character of its shapes makes Rozanova a versatile, dynamic, recognizable, legible and functional typeface, perfect for editorial projects, corporate use, and strong brand identity design such as posters, logotypes and packaging. This typeface shows two version shapes: geometric and humanist. Rozanova consists of a standard version (geometric) and an alternative version (humanistic), each in 9 weights (ranging from Thin to Black) with matching italics. The font also includes OpenType features, like case-sensitive forms, and the whole 503 character set supports more than 200 languages.

Sandbox was inspired by designs created by the Robert D. DeLittle Foundry in York, England, sometime after 1888. At the time, the fonts were simply grouped under the title #260 in the DeLittle catalog. This new font family was completely redrawn and engineered by Steve Jackaman, and several additional weights were designed to give the family improved flexibility. Sandbox was given its new name because it showcases a playful and bold feel, and contains many fun alternate characters and ligatures. It excels in display, but can still lend a carefree feel to subhead and text sizes.

Rogliano is an affable Slab Serif. On one hand it responds to the classic tenet of strong and direct alphabets of the Industrial Revolution period. While nourishing the text of a warm environment, it takes the freedom to flirt with lettering and lithographic posters of the Victorian era: due to its multiple stylistic alternatives, borders and decorative ornaments. This wide range of voices makes Rogliano a versatile typeface that can move from the mechanical to humanistic with absolute ease, and perform efficiently from branding to editorial design. Rogliano offers 14 weights with support for more than 200 latin languages.

Taranto was inspired by the typeface Domino by J. C. & M. Demarchi (published by Mecanorma in 1973). At its core, it follows the design language of Domino, but goes much further than its source of inspiration. (see fontsinuse.com for more info on Domino). The Taranto font family consists of 4 individual fonts (Thin, Regular, Black and Fill). Each font contains a glyph set of about 240 glyphs (Western European character set) and also contains alternates for some characters. Taranto Fill is designed as an underlay for the regular and thin cut. but also works fantastic as a very bold standalone.

Download PGF Elyss specimen Document: https://peggofonts.com/download/PGF-Elyss_(Specimen-2022).pdf In the lapse of one and a half year, what's started as a simple font idea turned into a huge multi style project, that we present to you today. Inspired by Jean Larcher's calligraphic work. This adventure began with a classic Roman set, then we added a Lombardic, an Elegant Script, and finally a Catchwords and Ornaments set. All under the influence of Art Nouveau organic look, that makes PGF Elyss an ideal project for label, header and cover design, it can even handle over than +200 latin based languages.

Runtage font is a stylish and modern hand letter script font but can also be used for vintage projects. This font will look awesome and amazing in many ways to your latest project. perfect for various projects such as logos and branding, hand lettering, merchandise, advertisements, invitations, social media posts etc What's Included : More than 280 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations, Ligature, Stylistic, Swashes) Support multilingual support Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters (fully accessible without additional design software)

Let’s have some fun! Govia Sans adds plenty of joy to any logo, layout or UI. Geometric shapes and a funny look come together in this font family – thus, Govia Sans might be the perfect choice for toys, books, packaging designs, movieposters and many more. Although the fonts’ comic character shines through in every glyph, it keeps a surprising degree of legibility even in small sizes. Choose between a Medium and a Bold weight. Designed by Marc Lohner, Govia Sans speaks more than 200 languages. Funny ligatures, arrows, oldstyle figures and many more features will fulfill all your typographic needs.

The overthinkers is a semi script hand lettering font for all of your hand lettering designs! With two sets of uppercase glyphs, three sets of lowercase and over 230 ligatures no two words will be same! So your designs will truly look hand lettered. With so much choice be careful not to overthink your designs ;). This font is perfect on it’s own or you may like to use it with your existing hand lettering fonts. Go ahead and try it out - it’ll compliment any design! It’s perfect for merchandise and food packaging, book designs, logos and much more.

Wright is a sans-serif geometric typeface inspired by the lettering found on modernist building plans. An elegant small x-height, tall ascenders and wide capital letters make the font look great in titles and short paragraphs. Wright consists of 4 subfamilies, each in 6 weights plus italics—48 fonts in all. Its wide range of alternates and ligatures make it an ideal workhorse suitable for a variety of projects and give your designs a stylish appearance and unique look. As you would expect from Latinotype, this font comes with a standard set of 800 characters and supports over 200 Latin-based languages.

The inspiration for Mimosa comes directly from the packaging for “Moulinard Jeune”, a line of French toiletries from the 1920s. I created the 240-odd glyphs needed to make up a complete font based upon the style of a handful of hand-lettered characters that were used on the original items. Mimosa is a mono-weight, connecting vertical script with a fairly regular set of lower case and slightly more decorative upper case glyphs. As with any decorative script, if you set copy in all caps, you will be tracked down and severely punished by the type police.

Monckeberg is an expressive font with a strong personality which is based on 15th century classic Venetian typefaces. High contrast between thin and thick strokes, calligraphic features and diagonal stress are its most striking characteristics. Monckeberg is ideal for short text and paragraphs, and specially designed for logos, branding, editorial design and web use. Monckeberg consists of 2 subfamilies of 9 weights, from Thin to Heavy, with matching italics, resulting in a total of 36 fonts. The basic family is classic and elegant while the alternative version allows for greater design freedom. Monckeberg contains 511 characters that support over 200 Latin-based languages.

Aulas's design is inspired by an ancient Roman lettering. This font is characterised by the strength and weight of its glyphs, in addition to its predominant height of "x", as well as the ascending and descending, with particularly short strokes. Aulas includes more than 200 alternative glyphs (swashes, stylistics sets, stylistics alternates), more than 70 ligatures, and a set of more than 30 ornaments, very easy to combine with the rest of the letters. This font offers good readability for use in editorial design, magazines, newsletters, and print. The strong personality of its glyphs is well suited to headlines.

Couturier font is all about haute couture: classy ready-to-use characters for each project, perfectly drawn curved shapes and well-balanced counterforms. Elegantly embroidered ligatures, alternative glyphs and beautiful swashes give the font an extremely elegant look. Couturier comes in 4 weights, ranging from Regular to Black, with matching italics, resulting in a total of 8 fonts that help you achieve a strong composition in your publishing projects. Its true italics with a humanist feel give each design a chic personality. The font contains a set of more than 1,200 characters that support over 200 languages.

Castrelon is a elegant serif family with a bunch of alternates and ligatures. Castrelon including with more than 200+ alternative characters (PUA Encoded) that give you a wide range of typographic design results. Castrelon is a versatile font for many different projects such as logo, branding, posters, magazines, label, merchandise, presentation, advertising, cards, quotes and so much more! FEATURES: OpenType support Playful to use (with ligatures options and alternates options) Multilingual support PUA Encoded If you need support or more information about this item please kindly contact me : ekahermawanputu@gmail.com Thank you so much I really hope you enjoy using it!

GreenCherry typeface is for regular texts. I have designed every glyph with kept perfection in mind. I also retained symmetry throughout all glyphs. They look very premium when placed together. The typeface has 3 fonts - Thin, Normal & Bold. Every font has 210 glyphs and supports Western European languages. It has essential OpenType features like Kerning and Hinting. Hence you can use it wherever you want. It works very well with print media and web media as well. This typeface is suitable for Websites, Apps, Blogs, Book Publication, Stationery, Signage, and other Printing media. I am sure you will enjoy this typeface.

Pockota is a retro, soft display serif typeface with 12 fonts. Ranging from light to black with its matching italics, Pockota offers many possibilities to be applied in many graphic or editorial projects. Lighter weights are suitable for body text, and the heavier weights are perfect for striking headlines. Thanks to the OpenType features built in, many stylistic sets and swashes are fun to play with. And with the extended latin character set, so that Pockota supports 200+ latin-based languages. Pockota is a classic and timeless typeface, perfectly suitable for display purpose such as branding, editorial, headlines, and packaging.

‘Plaquette’ is a collection of retro typefaces ranging from victorian to bauhaus to the sixties. They are all equipped with a load of OpenType features such as alternates, catchwords, stylistics sets and others. Plaquette 3D A chromatic set of fonts including gradient and outline layers. Crisp and precise. Plaquette Lovecraft A vintage typeface with some sweet discretionary ligatures to make your typography exciting. Take a look at the many alternates. Plaquette Sittl A clean geometric style with many alternative letters, some inspired by Paul Renner’s original Futura. Plaquette Labels This set provides you with 220 different shapes ideal for logos, plates and… labels.

Grunge Standard is to grunge fonts what Jazz standards are to the world of Jazz – timeless, easy to use, great for every occasion. The font is easily recognized, clear and legible, just like the tune that everyone knows. Use Grunge Standard for contemporary display work, for fashion items, for event posters, movie posters, music posters, videos, DVD covers, in fact, anywhere that grunge fonts could possibly appear. Grunge Standard contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Ranille is a modern, classy, bold serif and display font. It includes a great number of of alternates and ligatures. Ranille is inspired by retro curves style from the 50-60s era and brings it into modern design with bold weight. Ranille comes with over 200+ alternative characters (PUA Encoded) that give you a wide range of typographic design results. Ranille is a versatile font that ready to make your designs more stand out such as posters, magazines, branding, logos, label, merchandise, presentation, advertising, cards, quotes and so much more! Check out Novante which is a great pair for Ranille.

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

Refrankt is a multifunctional sans-serif type family with 18 styles, ranging from Thin to Black with matching italic styles. The key visual feature of Refrankt is its wider characters and expanded proportions, which accentuate the character of the type family and extend its application. Refrankt works well as a display font but can also be used comfortably in headings and larger bodies of text. Refrankt offers a clean and thoughtful take on the functional grotesque sans-serif style and can be used in a wide variety of projects, from UI/UX design to packaging and branding. It can also be employed as a font for logos and word marks. Whether you're looking for bold, sturdy letterforms or dynamic flexibility, Refrankt readily adapts to any task. Refrankt would look at home in projects related to technology, athletics, industrial design and many more. The functionality of Refrankt is defined by its multilingual support (200+ languages) and its extensive OpenType features, such as Case-Sensitive Punctuation and Stylistic Alternates, among many others. In addition to a standard set of figures, Refrankt includes tabular figures, old-style figures, superiors, inferiors, and fractions. The entire character set comprises over 800 glyphs. Free trials available on our website: https://groteskly.xyz/ Refrankt Features: • 18 Fonts (9 Upright & 9 Italic) • Variable Font • 800+ characters/font • 200+ languages supported • Extensive OpenType Features • Versatile and Multifunctional

Presenting the 🗯️💬The Brootahh Comic Typeface💬🗯️ by alitdesign. The Brootahh Comics typeface is inspired by the style of letters in comics that have less serious and fun characters. The lettering of the Brootahh font is a sans serif with distorted characters which gives a fun and design impression for children. The Brootahh font has 2 families, namely the Brootahh Blup font which has more bubble characters that can support comic characters to be cooler. The Brootahh font is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The Brootahh Comics typeface also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The Brootahh Comics typeface creating a Comic and non formal themed design is very quick and easy. The Brootahh Comics typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Brootahh Comics typeface contains 618 and Brootahh Blup 498 + 230 bonus glyphs with many unique and interesting alternative options.

Protest is inspired by protest posters and the power of the people! Each glyph is written by hand with a Sharpie® Magnum marker on big sheets of paper. It is designed to fit more into the poster and still be legible for the media from a block away. It's bold, slightly condensed, and neatly drawn with love and conviction, with the warm imperfection that comes from being hand drawn. Protest consists of over 1,430 glyphs. This includes 300 alphanumeric glyphs with 3 contextual alternates each, 20 stylistic alternate glyphs, and 20 protest themed dingbats. Contextual alternates will rotate through automatically when OpenType features are enabled, giving it more human irregularity. Protest supports 219 latin-based languages, using Underware’s Latin Plus glyph set.

Kinetika is a geometric sans serif family that comes in 20 weights, including uprights and matching italics. The idea behind Kinetika was to create a very impactful display type family that would be perfect for branding — to do so it needed to have large x-height, distinctive and legible letterforms as well as friendly characters. In summary the font family is ideal for a variety of cases including advertising, branding, motion design, editorial, packaging and most importantly websites. Each font features 800+ finely crafted glyphs, smart quotes, tabular figures, beautiful old-style figures, over 20 stylistic sets made to ease your typesetting process as well as subscripts, superscripts, fractions, and more. Language support is quite extensive, including Cyrillic and extended Latin alphabets, with over 125+ languages supported.

Gioviale is a unique hybrid that seamlessly blends an italic and script typeface with flair and elegance, and carryies just a hint of tailored and clean, structured underpinnings. Its versatility is exemplified in its greater readability at small sizes compared to other scripts. Gioviale includes an entire set of alternate swash caps, 20 ornaments, 20 discretionary ligatures, and 300 swashes, which include a standard uppercase set for more traditional text settings, and a swash uppercase set which are even more flourished. See what’s included! http://bit.ly/2bUXDcH *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

The main 20-th century handwritten display font in the USSR, usually performed with a flat brush or a wide poster pen for all kinds of signage during 1920-1990s. It had also many analogues in other countries, but never was that popular as in the Soviet Union, used everywhere.

Beauties Bright allows you to make handwriting that looks fresher, both quickly and easily. Beauties Bright includes Stylistic Alternates for lowercase and uppercase characters. It is suitable for a variety of texts in your writing and also includes more than 20 swashes that allow your handwritten text to look more amazing.

The Balistine font, a combination of modern and slightly taking elements of 80s era in some lowercase curves such as "a b d q w and there are several alternative letters found in Balistine. By carrying a weight of 20 Balistine can easily be used for wider exploration. Let's start design.

Jvne77 Studio presents: Cittá Novela is an upright typeface family inspired by vintage architecture from the mid 20's to the 60's. A classy and didonesque streamlined sans which will perfectly set in a poor line space for Titling and text. Multilingual, diacritics, ligatures and alternates for near 570 glyphes.