About Pastel font family: Pastel font is a simplified Arabic digital Ruqah font, which adopts horizontal formatting characters, The font is available in two styles: Pastel Regular and Pastel Bold. The difference between the two fonts: The Pastel regular font has short ends, The Pastel bold has extended and extended characters. Pastel font for desktop applications Pastel is suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic, Persian, Kurdish and Urdu. Language families: Arabic, Persian, Urdu, Latin, Kurdish Designer: Sultan Maqtari Design date: 2020

This typeface family is developed with the designer in mind. WBP Nel is a narrow sans serif with lots of options. The Regular consists of UPPERCASE and lowercase glyphs, beautiful kerning and a nice ampersand. All other styles are just uppercase and made to give your designs some extra flair. The Brickbuild is a playful, stencil version and the Dots (freebie) is a dotted typeface. The Light and Heavy version complement the Regular beautifully. These two also come with a display variant, the WBP Nel Stamped and WBP Nel Hypno. So you get lots of options to mix and match while designing awesome prints, posters, logo's, websites or identities.

Alburgone is a hand lettering typeface with nostalgic look and feel! This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features: 4 styles (Regular, Slanted, Outline Regular, Outline Slanted) numbers and punctuation multi-lingual support PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Email us to letterhend@gmail.com if you need something! Happy Designing!

Carefree makes it so simple to elevate a logo or headline text, whether you're wanting something bold or delicate. Introducing the Carefree Serif family – a gorgeous condensed serif typeface that includes 16 fonts, regular and italic, from Hairline weight to Bold. This typeface looks best in larger settings as a display text (think big headers, pretty quotes, calls to action, etc.), but can also be really stunning for longer text like quotes. I would probably avoid using this as a body text because of the high contrast. I've also been loving combining the regular and italic and mixing up the weights, especially for beautiful logos.

Scientia (means 'knowledge', 'science' in Latin) is a neutral serif typeface in eight styles. It contains four weights (Regular, Medium, Bold, Black) with corresponding italics. All the styles support Western and Central European Latin, basic and Asian Cyrillic and Greek. Regular and Medium styles include smallcaps for all supported languages. In addition to the standard set of non-alphabetic characters Scientia has arrows and some supplemental mathematical symbols. The font was created by Natalia Vasilyeva. Being a professional book designer, Natalia uses Scientia in astronomy books. Scientia is a good choice for literary fiction and academic non-fiction texts. The typeface was released by ParaType in 2016.

Neotoxic Font Family has been published since 2022, and can be downloaded for free on the dafont website. This font supports interesting features such as small caps, ligatures, salts, etc. also consists of 6 font styles including thin, light, regular, bold, black, outline. WHAT YOU GET Features : Small Caps, Ligatures, Ligatures Contextual, Salt. 6 versions normal & italic (ttf + otf) 24 types of font files include Regular, Bold, Light, Hollows/Outlines, thin, Italic, light PUA Encode Characters, fully accessible without additional design software. Includes a range of multilingual characters. Neotoxic is suitable typeface for various purposes like logotype, signage, label, poster, dropcap, titles, letterhead, book cover and etc. Thank you!

Citix Two Condensed is a new font derived from Citix Regular –a traditional pen-formed flowing script–, but containing a complete new set of capital letters, titling, ligatures and swashes. This font may be a good option to combine with Citix Regular, specially in fine tune and accurate works, suitable for commemorative letters, invitations cards, lettering, logotype design and the most elegant visual communications projects. This font comes with five different kinds of capitals, Contain full OpenType features to work with: a full set of swashes, stylistic alternates, standard and discretional ligatures. Small caps, Central European Languages, Case sensitive forms, Old style numerals, ornaments and tails.

Fernolester is a classic themed font with a unique edge and above all; packed with different styles and ligatures - making it easy to create unique characteristics for your project. This typeface has a classic taste, very suitable as a design choice for books, magazines, packaging, branding, signage and many other creative projects. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop, Adobe Indesign & CorelDraw X6-X7. and much more This package includes 4 files; Fernolester Regular, Fernolester Italic, Fernolester Regular In Style & Fernolester Italic Instyle as OTF & TTF. Mail support : maculinc@gmail.com Thank you! Maculinc

Serial: a killer font takes influence from the Son of Sam letters. Depicting an unstable mind and ill motives, this font is as erratic and discomforting as its author. Containing two similar but discernible font styles, you can mix and match to create your own story. Serial Regular is neater and more thoughtful. It is controlled and has an obvious flow. Serial Alternates illustrates a very different frame of mind - it is turbulent and rushed with little to no consistency. Serial Regular contains a secondary A-Z set, and a latin character set. Serial Alternates contains over 60+ ligatures (which gives it its natural handwriting style).

Say hello to “Limitless” – A versatile, modern, condensed font family, perfect for creating powerful, beautiful text. This all caps typeface contains 10 individual styles, making "Limitless" super versatile and fun to experiment with. Limitless includes 10 all caps weights: Limitless ExtraLight – Nearly weightless and very delicate Limitless Light – Beautiful and elegant Limitless Regular – A great midground between lights and bolds Limitless Bold – Big, bold and beautiful Limitless ExtraBold – Visually strong and authoritative 5x Limitless Italic (ExtraLight Italic, Light Italic, Regular Italic, Bold Italic, ExtraBold Italic) With its many weights and limitless possibilities, this typeface looks amazing in magazines, on posters, logos, for branding and headlines.

Get to know Norman, elegant and fashion forward. This new condensed and high contrast serif font is based on expansion giving a sense of self confidence. The oblique ax was specially added to get a contemporary and innovative sense. Norman is young and idealist, he has a distinctive sense of style. A complete set of ligatures and stylistic alternates is included, this will help the designer to customize and give a special look to any layout. We recommend to use it for big title, magazine, editorial purposes and display. Norman Family contains 2 styles, Regular and Italic, both fonts have another version a bit heavier called Regular 2 and Italic 2.

Introducing Ouders - Stencil & Regular Font A display font that has a strong and bold look. This font is made by hand so it looks natural and very suitable for vintage and rustic theme. Perfectly made to be applied especially in logos, and the other various formal forms such as invitations, labels, magazines, books, greeting/wedding cards, packaging, stationery, novels, labels or any type of advertising purpose. By combining both styles (stencil and regular) you will create a single design with an old style that is perfect! That's why you have to use this font. If you like the previous styles, you are right to use this font!

Asteric Vintage is a retro-vintage font family with an amazing set of ornaments. It comes in 3 different styles: Regular, Rough, Display, and also presents 26 beautiful and luxurious ornaments . The Rough Style has a characteristic that resembles rust on each character, thus creating results that seem strong and hard. The Display Style is very suitable for display, every work created with it becomes luxurious, wrapped in a classic atmosphere. The Regular Style is a style that has a clean character but still carries a classic scent that is thick and unique. This style is very suitable for use in magazines, books, newspapers, etc.

Kalkal is slab serif typeface with five style, inspired by sign-board. It looks like many typeface with three dimensional. The main layer is regular and in-liner bring little spark in the Typeface. Two shadow layers gives an eye catchy impression and opacity layer is charm of the family. This five layered typeface can be used alone or combined, which makes it a versatile. This type works both for vintage and modern designs. Now let’s see how it works: In-liner layer Regular layer Shadow one layer Shadow two layer Opacity shadow layer kalkal with its five layers gives you flexibility to design.

The Oyster family is a useful toolkit for hand-draw moods. It's a super casual and somewhat messy font that comes in two flavors: regular and outline, or rather, truly-hand-drawn-outline. Both styles have two choices for each upper- and lower-case letter, for that additional handmade feel. The OpenType contextual alternates feature instantly get these alternate glyphs to dance. The regular style also brings a set of glyphs with filled counters in a stylistic alternates pack, for a little twist now and then. And finally, the family has also a picture font with useful icons and ornaments. Handmadify your message and give Oyster a try!

Nearly 2 years in the making, LHF Black Rose Script is the perfect blend of hand-lettering and modern technology. This beautiful script is loaded with features, such as automatic ligatures, discretionary ligatures, bonus ending characters, swashes, and several alternates (302 glyphs to be exact). You receive 3 versatile fonts to match different moods: Regular, Block Shadow (placed under Regular), and an expertly-crafted Inked version which has been distressed to look like freshly inked lettering. One look at your designs and your clients will fall in love with Black Rose Script. And with so many carefully designed alternates to use, they'll probably think you hand-lettered it yourself!

Arthur Baker's display script Sassafras, designed in 1995, is based on the natural inline effect created when writing with a split-metal nibbed pen. Black and white are nicely balanced, giving this calligraphic face a remarkably smooth appearance. The regular and italic versions of Sassafras include two alternate faces: one with long, tall ascenders and regular-length descenders, and one with shortened ascenders and descenders that allow it to fit where its companion might not. In both, the ascenders increase in width as they move upward, while the descenders taper to a fine point. This variety of form makes Sassafras a very flexible choice for display work.

Middle Thread is a Script Font with a retro style. Soft curves are combined with high-contrast glyphs, conveying an attractive retro and vintage quality. This font consists of 4 Middle Thread Fonts Regular, Extrude, Swash and Swash Extrude, with many unique ligatures and alternatives provided. Great in layout design for quotes or body copy, best used as a display for posters, headings, logos, branding, magazines, product packaging, and a wide variety of things. Mix Regular and Swash to create a unique and very beautiful look, especially when you add the Extrude feature of the font, it really adds uniqueness and interest by looking even more amazing. What do you get: Middle Three Regular, Swash, Extrude and Swash Extrude OTF, this font is accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, it even works in Microsoft Word. Fully Encoded Characters are accessible without additional design software. Fonts include multilingual support. Images used : All photos/images/vectors used in the preview are excluded, for illustration purposes only. (www.vecteezy.com) Feel free to follow, like and share. thank you very much for checking my store!

Mavitya is a serif font with a classic but modern style with smooth curves and beautiful binding, consisting of regular and condensed versions with four types. allowing for a very sophisticated and contemporary approach to typography and the unique look of the font it also features ligatures and multi-language support. This font is made perfect for application especially on logos, and many other formal forms Mavitya provides a distinct, creative and expressive message for your branding, advertising, packaging, headlines, magazines, websites and other large projects. Feature: - 4 Font Weights — Regular, Condensed - Numbers & Symbols - Supported Languages - Alternatives and Ligatures - PUA coded What's included: - Mavitya Regular + Oblique - Mavitya Condensed + Oblique We strongly recommend using programs that support OpenType features and Glyphs panels such as Adobe and Corel Draw applications, so you can view and access all Glyph variations. Families like this have become a true labor of love, making it as easy and enjoyable as possible. I really hope you enjoy it! Thank you Enjoy the font and be creative :)

P22 Saarinen is a typeface based on the architectural lettering of Finnish American architect Eero Saarinen.The Saarinen fonts were created to help commemorate the 75th anniversary of Kleinhans Music Hall in Buffalo, NY, which was designed by Saarinen in collaboration with his father Eliel Saarinen and is recognized as one of the greatest concert halls ever built in the United States. Saarinen’s own lettering styles were combined with various lettering manual suggestion for proper lettering to create a flexible casual lettering style in regular and bold weights. The Pro fonts include multiple variations of each letter for a more natural lettering style as well as stylist in variants to achieve various highs for crossbars and other customizable variants. The Pro fonts also include Central European character set, fractions, small caps and an array of hand drawn directional arrows. Individual non-pro versions feature: Saarinen Regular - characters with low cross bars Saarinen Alt 1 - characters with high cross bars Saarinen Alt 2 - characters with mid cross bars and old style figures Saarinen Arrows - bold and regular arrows combined in one font

The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middle ground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462. Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine develops a "digitally carved", quasi-pixelated appearance (clearly stressed in Keratine's italics) that allows an unexpected balance between small-size readability and display-size personality. Keratine also relies heavily on a variable identity as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of 8 weights with italics. Open type features and glyph alternates further enrich the usage possibility of this typeface that embodies our contemporary swap culture by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.

Vala™ dances across printed pages and shines on screen. This is a high-energy design that blends the grace of an English Roundhand script with the gravitas of an extra bold Bodoni. There is even a bit of romance in the design. Vala speaks with a resonant voice – and knows few bounds. The typeface enhances print headlines, subheads, cover art and packaging. The design also brings its distinctive melding of verve and poise to banners, headings, navigational links and branding in web sites, blog posts, games and apps. Oscar Guerrero found inspiration for Vala in shop window lettering near his home in Bogotá, Colombia. “The capital A, R and V caught my attention and I photographed the window for future reference,” he explains. “Later I started to draw more letters inspired by the ones in the window.” Guerrero admits that he has always admired the work of Giambattista Bodoni and allowed his classic Didone designs to infuse Vala. Striking contrast in stroke weights, lively ball-terminals and a large x-height give Vala the grace and force of a Waikiki wave. Not satisfied with just a basic character set, Guerrero also took advantage of OpenType’s capabilities and drew a complete set of swash capitals, a bevy of fancy ligatures, and a suite of lowercase alternative designs. The result is that Vala easily emulates custom lettering in posters, headlines and logotypes. The “romantic” part of Vala? Guerrero dedicated the design to his girlfriend, Valentina, and named it after her.

This is Tchig Mono, a monospaced type family that doesn't take itself too seriously. Why make a monospaced font? For coding, sure, but display? It’s my humble opinion that it’s the aesthetic choices driven by the constraints of the monospaced environment that makes them attractive. It’s a challenge for the type designer to squash and expand glyphs into a rigid bounding box, and the more unorthodox shapes that spring from this have a feel about them which lends them to postmodernist layouts and hipsterish anti-design. And the payoff for the type designer - no kerning! Yay. So what’s different about Tchig? Like I said before, it doesn't take itself too seriously. Even the name Tchig is just a stupid, fun sound (although it does show off that nice g!). There are a selection of playful alternates that give text a slightly alien feel. Stylistic set 1 chops off ascenders and descenders of lowercase letters, giving it a kind of small caps meets unicase feel (it is also accessible using the small caps feature). The other sets (or stylistic alternates if you don't have access to stylistic sets) make certain letters more twirly, more square, more “experimental”. Automatic fractions use a half-width numerator and denominator so fractions like one half and five eighths have the same width as figures (and every other glyph). There you go then - a monospaced type family not initially intended for use in the usual ways monospaced families are intended to be used. Give it a try. You could even do some coding with it if you like.

The courageous Russian author of the best seller Anastasia, Vladimir Megre, once said that this remarkable woman would inspire creative people around the world to produce their best work. Since I consider myself a creative person who has been deeply touched by her story, I sincerely hope that this will be true for me also. Anastasia talks a lot about God, the wonders of the natural world and how all things have been created so perfectly. This belief in universal perfection, however, is not confined to mystics alone. Many great mathematicians and scientists, including Albert Einstein, were of the same opinion. Having read Dan Brown’s The Da Vinci Code, I became quite fascinated with the so-called Fibonacci series; "a sequence of integers in which each integer (Fibonacci number) after the second is the sum of the two preceding integers; specif., the series 1, 1, 2, 3, 5, 8, 13, . . ." (Webster’s Dictionary). These mysterious numbers, which are said to give divine proportions, are found throughout nature in everything from a rose to a spiral galaxy. Many believe that this reinforces the argument that there is a divine intelligence back of creation. With that in mind, I thought it would be interesting to see if I could somehow create a font using these numbers in the design process. If I have succeeded - even partially - in attaining these mystical proportions, it will definitely have been worth all the hard work. And, I sincerely hope that many will enjoy using this font in producing their own best work.

Burford is a font family that I sketched while traveling through Europe. I was mesmerized by all the unique typography that was showcased throughout the five countries I visited. Inspired by all that I had seen, I found myself spending 4-5 hours per day in Amsterdam’s Vondel Park drawing characters. Once back in the states I digitalized Burford, deciding it would make for a beautiful layer-based font. Burford Pro package comes with all 18 layering fonts including 5 base layers, 3 top layers, 5 bottom layers and 2 sets of graphic elements. They are strategically made to build on top of each other, creating a cohesive and easy to use layer-based family. Each font also comes with a set of Stylistic Alternatives for letters A C E F G H P Q R. Burford Basic package is created for users who don’t have access to premiere design programs (such as Illustrator, InDesign, Photoshop, etc) and are unable to use the layering effect. Burford can still be a powerful tool as each font can also be used on its own. It includes every font file not needed for the layering effect. (Include 13 fonts - Burford Basic, Dots, DropShadow, Extras Set A, Extras Set B, Extrude B, Extrude C, Inline, Line, Marquee, Outline, Stripes A and Stripes B). The Burford Extras set uses all basic keyboard characters - around 100 total elements per set. They are designed to go specifically with Burford and complement its varying styles perfectly. The set includes: banners, borders, corners, arrows, line breaks, catchwords, anchors and many more!

Introducing "Ryzes" – a font that plunges you into the immersive world of cyber graffiti with a distinct cyberpunk feel. This font is your gateway to a dystopian digital realm, combining edgy aesthetics with a futuristic vibe that speaks of rebellion and technology. "Ryzes" captures the very essence of the cyberpunk genre, offering a text that embodies the rebellious and high-tech spirit of a dystopian future. Each character resonates with the anarchic energy and unconventional style of cyber graffiti, making your designs pop with a captivating and distinctive edge. In our globalized world, language is a bridge that knows no borders. "Ryzes" is equipped with extensive multi-language support, ensuring that your message can be effectively communicated to audiences around the world, regardless of language or script. Complete Character Set: "Ryzes" boasts a comprehensive character set that includes both uppercase and lowercase letters, numerals, and a rich selection of symbols and punctuations. This versatility ensures that your text is not only visually stunning but also functionally adaptable. But that's not all. "Ryzes" takes your creativity a step further with an extruded version. This adds depth and dimension to your designs, allowing you to effortlessly create 3D text that embodies the cyberpunk aesthetic. The combination of the regular and extruded styles offers endless possibilities for crafting captivating 3D designs. Whether you're working on cyberpunk-inspired branding, futuristic posters, or any project that demands a cyber graffiti aesthetic, "Ryzes" is your ultimate companion for pushing the boundaries of design. Dive into a world where rebellion meets technology and let "Ryzes" be your creative tool in crafting designs that resonate with the electrifying spirit of the cyberpunk genre in 2D and 3D dimensions, bursting with color and pop culture excitement. ——— Ryzes features: A full set of Uppercase and Lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +274 Total Glyphs ——— Ryzes Includes: Ryzes Regular Ryzes Extruded Left Ryzes Extruded Right

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

How many times have you seen lettering on a book cover, poster, or card and wanted to make something similar? Decorata’s eight intertwining weights finally make that possible in an intelligent way. The first major collaboration of its kind, Decorata pairs the talents of supreme lettering artist Martina Flor and masterful type designer Neil Summerour. Lettering was traditionally understood as using words in an artistic way, while type design created written language for easy reading, the one overlapping the other in several ways. For this unique project, Martina created several versions of the alphabet and its decorative layers in her eye-catching style. Neil then took those designs and created an enormous eight-style font family that respects the designer’s need for control and capitalizes on the artist’s expressiveness. Each style can work separately but, on top of the foundational styles, try placing the Lace, then Filigree in contrasting colors. Use any OpenType-capable program to turn headlines from blasé to wowza, make posters with some pow, and design your own cards with that just-right level of detail. Whatever idea you can imagine with the Decorata family, it promises to be a playful and precise wordsmith where the words themselves are the art. Decorata’s glyphs are bifurcated, have medium contrast to showcase their intricate interactions, and include Shadow, Regular, Outline, Filigree, Lace, Fancy, Intricate, and Dingbat styles — eight in all. The Regular style sets the word or phrase to begin the design, Shadow ensures it lifts off the background, and Outline attempts to restrain its ornate flair. Think of those as the foundation and use the rest of the styles for flamboyance. The Intricate and Filigree styles vary only in the thickness of the glyphs, with Filigree being thinner. Lace removes the external curls around each letter but keeps the internal negative space from those decorative lines. The Fancy style is a solid lettershape that includes its attendant elements, and the Dingbats are exactly as expected: borders, manicules, patterns, frames, and many stylized items to bring designs to life.

Introducing "Black Hearts," a cutting-edge freestyle graffiti font that brings an urban edge to your design projects. This font is a testament to the rebellious spirit and creative expression found in street art. With its bold strokes and dynamic letterforms, "Black Hearts" captures the essence of graffiti culture, delivering a raw and authentic feel to your designs. Freestyle Graffiti Design: "Black Hearts" is crafted with a freestyle approach, emulating the spontaneous and expressive nature of graffiti art. The characters showcase a mix of intricate details and bold lines, creating a visually striking and edgy aesthetic. Regular and Extruded Versions: Take your designs to the next level with the 3D flair of "Black Hearts." The font comes with both regular and extruded versions, providing you the flexibility to experiment with depth and dimensionality in your typographic compositions. Graffiti Swashes: Add an extra layer of creativity to your designs with the included graffiti swashes. These unique elements complement the font's style, allowing you to embellish your text with expressive strokes and energetic curves. Ornamental Elements: Elevate your design projects with the diverse range of ornamental elements included in "Black Hearts." From spray-paint-inspired accents to urban motifs, these ornaments provide additional creative options for making your designs truly distinctive. "Black Hearts" is perfect for projects that demand an authentic urban vibe. Whether you're working on street art posters, album covers, clothing designs, or any project that requires a rebellious and contemporary feel, this font is your go-to choice. Versatile Applications: Streetwear Branding Music Album Artwork Graffiti Art Exhibitions Skateboard Deck Designs Edgy Advertising Campaigns Contemporary Logo Design "Black Hearts" is more than just a font; it's a statement. Embrace the rebellious energy of the streets and infuse your designs with the raw, unapologetic style of urban graffiti culture. Unleash your creativity and make a bold impact with "Black Hearts." ——— Black Hearts features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +425 Total Glyphs +200 Graffiti Swashes and Ornaments included!

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop. Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

Mister Lindquist is a calligraphic font that blends the artistry of vintage sign painting and the expressive movement found in bold signatures. This font captures the essence of an era of craft while infusing your designs with a cool, contemporary flair that is perfect for branding, advertising, and creative projects that require a professional touch of nostalgia. The Mister Lindquist font family features multiple styles to suit your design needs: Regular and Bold, and their respective Italics. These versatile options allow you to create compositions that remains fresh while retaining the authentic quality. Use underscore _ to make a underline. Example: Scr_ipt Use multiple underscores for longer swashes. Example: Extr___eme Equipped with advanced OpenType functionality, Mister Lindquist ensures top-notch quality and provides you with full control and customizability. The font includes stylistic alternates, ligatures, and other features to make your designs truly unique and captivating. Offering extensive lingual support, Mister Lindquist covers all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia, and includes all the characters and symbols required for your creative projects, such as punctuation and numbers. Mans Greback, a Swedish typeface designer known for crafting high-quality fonts with a focus on versatility and aesthetics, created the Mister Lindquist font to provide designers with a true sign painter's font.

Linex Sweet was designed by Albert Boton in the late 1990s. It's a smallish family of three weights; the middle weight has an italic companion face. With its soft corners and slightly quirky head-serifs, Linex Sweet is a friendly design that sees much use. Several years later, Boton began sketching a new design, based on the original Linex Sweet but with a little more authority and grace. Linex Sans is the result. A mix of crisp angles and soft shapes, this new addition to the extended Linex family is both inviting and elegant. The subtle calligraphic overtones distinguish the design from more traditional sans serif designs. A three-weight family with a complementary italic for the Regular weight, Linex Sans is a versatile communications tool in both text and display sizes. It offers that mix of sophistication and joie de vivre that characterizes the designs of Albert Boton. Boton began his professional career as a carpenter. Fortunately for designers and typographers, he quickly turned from pounding nails to hammering out graphic design and constructing great letterforms as a profession. In his long career, he has created hundreds of distinctive, highly useful and award-winning designs. And even though he is now retired from active business, Boton continues to create fresh, new typeface designs. Add Linex Sans to the list.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!