La versión propuesta por la SEMOVI (Secretaria de Movilidad) es un estilo más angosto y ortográfico, creadó con la finalidad de aligerar las aplicaciones tipográficas del sistema. Se emplea oficialmente en todas las aplicaciones del sistema de Movilidad Integrada de la Ciudad de México. El creador de la tipografía es Lance Wyman. En esta edición, los tipos minúsculas son una adaptación “no oficial” para el Tipo Movin CDMX, enriqueciendo la tipografía a un estilo visual de altas y bajas, por lo que se prescinde del diseño base como trabajo propio para enfatizar los tipos minúsculas exclusivamente, además de que se han añadido algunos caracteres de acentuación extendiendo su uso a otros lenguajes. Los tipos son una nueva propuesta por Ixipcalli en el presente año 2023. The version proposed by SEMOVI (Secretary of Mobility) is a narrower and more orthographic style, created with the purpose of lightening the typographic applications of the system. It is officially used in all the applications of the Integrated Mobility system of Mexico City. The creator of the typeface is Lance Wyman. In this edition, the lowercase types are an “unofficial” adaptation for the Tipo Movin CDMX, enriching the typography to a visual style of highs and lows, so the base design is dispensed with as my own work to emphasize the lowercase types exclusively, In addition, some accentuation characters have been added, extending their use to other languages. The types are a new proposal by Ixipcalli in the current year 2023.

You may be familiar with a caps and small caps type called Cruickshank. In Germany the same face was called Eureka. We took the small caps, which are not so overblown as the caps, and designed a lowercase to harmonize with it.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Add some twinkling lights to a bold Art Deco font such as Art Lesson JNL, and the result is a typeface which truly puts your name (or message) up in lights. Opening Night JNL conjures up images of Broadway plays and Hollywood premiers.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Hello goody butty is a laid-back, casual paint brush handwriting font. Whatever the topic, this font will be a wonderful asset to your font library, as it has the potential to enhance any creation. Included uppercase and lowercase multi language ligature

Kame has a unique character and comes with 2 styles, allowing you to play with combinations to create a stunning display. This font is suitable for many design formats, such as posters, cover art, logos, magazines and anything with a futuristic theme.

Ginseng JNL evokes the mysticism and grandeur of the Far East. The font was originally conceived as either electricity in motion or glass shards, but the design simply built itself into a typeface that pays homage to the hand lettering of the Orient.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Lockon Velline wass inspired from a biker and tattoo style with progressive edge and sharp tips, to make the fonts more bold and dynamic. Equipped with Open Type features to activate the stylistic alternates to play with as desired for your individual taste.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Did your client just say ‘can you make it pop’? Then you already know you got it on lock. Introducing: Midnight Diner! A multi-layered dimensional script font family featuring thin, bold, outline and shadow capabilities, with a left-leaning slant to boot. You can experiment with various layer combinations and colour! How fun is that? Being effortlessly casual, retro and elegant all in one, you can play it up or down to your liking – perfect for display graphics, logos, signages, packaging, lifestyle imagery, invitations and more. It features a diverse range of stylistic alternates, contextual alternates, and standard ligatures, ensuring that you’ve countless options to choose from for your design work. This font family is delicately crafted and well thought out with every little detail in mind, to ensure its ease and versatility when used! Midnight Diner is a collaboration between lettering artist and calligrapher, Leah Chong (www.leahdesign.sg) and typeface designer, Roland Huse (www.rolandhuse.com). Product Content: Midnight Diner Layered Font - Thin (TTF) Midnight Diner Layered Font - Bold (TTF) Midnight Diner Layered Font - Outline (TTF) Midnight Diner Layered Font - Shadow (TTF) Font Guide PDF https://drive.google.com/file/d/1KPSf-gGrhX3wyaImEAmlJICERNbxu2IN/view?usp=sharing Font Guide Youtube Video https://youtu.be/GtZ8E7Y7wnQ 6 Bonus SVGs (TTF): Midnight Diner SVG - Red Yellow Midnight Diner SVG - Black Pink Midnight Diner SVG - Blue Green Midnight Diner SVG - Orange Yellow Midnight Diner SVG - Purple Pink Midnight Diner SVG - Black White Font Features: Latin character set: Uppercase & Lowercase A - Z Stylistic Alternates Contextual Alternates Standard Ligatures Numerals, Currency Symbols & Punctuation Accented Characters To access all features of Midnight Diner such as stylistic alternates etc., it's highly recommended to use professional design software such as Adobe Illustrator, Adobe Photoshop, Adobe InDesign or Procreate (via the ‘add text' feature).

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

TT Corals useful links: Graphic presentation | Customization options TT Corals is a modern humanist sans-serif which has many typical traits of the beginning of the 20th century. For increased functionality, we created 6 styles of various weights: thin, light, regular, bold, extrabold and black. Its distinctive smooth lines and separate elements allow TT Corals to be used for a variety of design applications. It fits classical literature or music perfectly, and is appropriate for any creative or innovative content. TT Corals inspires new ideas for your creativity and art with its freshness and novelty. FOLLOW US: Instagram | Facebook | Website TT Corals language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

To design this font, Crackle, I was inspired by an advertisement in the polish weekly "Tygodnik Powszechny" from 1938. From a few letters I have created an entire typeface - uppercase characters - in crackled and uncrackled versions.

Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean François van Royen’s publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, lighter and more classic in color. This Pro digital version of Zilvertype comes expanded in all directions. It contains a roman, a bold and an italic. Each font contains over 685 glyphs, including small caps, eight different sets of figures, plenty of ligatures, some Dutch ornaments, and extended language support covering most Latin languages. Zilvertype Initials is also there to round out this distinctively Dutch text family and make it ideal for immersive text design.

Created for designs that require a handcrafted and handwritten look with a majestic touch. Artifex Regina is a blend of fantasy, wizardry, and charming delight. What's even better? IT'S VARIABLE! Designed to be a fun variable font, it allows Artifex Regina to be used as an animated typography adding a hint of magic through styles & transitions. Need a brighter inline? Need a softer shade? We got you! As an extra feature, you might want to try and play with its sliders and navigate throughout its 2 axes plus a swirly style handler to get a fully customized style! FEATURES: · Alternates: With an easy access at hand and through various stylistic sets that may contain many or a few alternates, leaving the choice to the designer for the right combination of sets and alternate characters. This includes a set of swirly ends available for static fonts as well as an axis for the variable font. · Contextual alternates: a few characters that provide some variety when used together. · Ligatures: Common used connectors with a playful twist. · Swashes: Accesible through OpenType Swashes feature there's a set of initial, final and middle swashes with passionate, elegant, and expressive strokes. Also, through stylistic sets, there's a set of monoline swashes for a cleaner look or limited spaces.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Salvador was born in a small village in the province of Seville, Spain where he lived until 2002. During many years he worked in restaurants, construction, and in the fields, until he decided to go try his luck in Palma de Mallorca. There he worked in hotels and in construction, until the economic crisis erupted and he was left without work or benefits of any kind and he began to live in the street: “The street has few good things, but it teaches you to be more selfless, to share with others what you have, even if it isn’t much.” In 2006, a friend encouraged him to come along to Barcelona and bought his plane ticket. Once there, things did not go much better and he had to continue living in the street. A year ago he left behind that life and now he explains his experience in guided tours to school groups: “I like it because I see that many of them are interested and they ask questions. It is good that they learn.”

Thud is a family of seven weights with roman and true italics. Weights are done with parabolic formula by Luc(as) de Groot for each weight to be optically in between the next weight. Made for headlines, but kerned well enough for larger amounts of text.

Rosvard is our new old fashioned typeface. Inspired by vintage signages and brewery emblems. You could feel the vintage vibe on our preview images. Although you could use it to modern design as well. Since our last font just single font. We decide to make another layered font like we did in the past. This one in particular contains Stripe, Outline, Regular, Extrude and Shadow. You could combined all of them of just use two or three of them as you like. We also give you the separate ornaments we used for the preview image as an icon/dingbat font. You could mix and match each part to make your own badge / emblem. Because we believe you could do it.

Albion's Americana is a fun display family and a tribute to our transatlantic friends. The stars and stripes motif is applied to an American inspired all capitals Roman display face, producing something that is bold and boisterous and well...American. The regular face is intended for conventional use, while the 'Black', 'Red', 'White' and 'Blue' faces are designed to facilitate patriotic multi-coloured lettering (of course, you can use other colours as well). It's worth trying out different combinations here- Black and White alone work well, as does read, white and blue minus black. Albion's Americana Companion is also offered, intended as a small or all capitals face for subsidiary lettering. Next time you need some graphic typesetting with that American feel, this is your answer!

Linotype Syntax™ Letter is reminiscent of the style of the Roman Rustic capitals and is an earthy, almost snappy companion to the other Linotype Syntax™ typefaces. Instead of subtly expressing the rhythmic dynamism of handwritten letters, this face is more overt about its connections to writing movements, such as the lead-in and exiting terminals, and the organic branching of round strokes from main stems. Linotype Syntax Letter was designed especially for office communications, and it does add a warmer, more personal touch to such documents — while still combining nicely with the more formal Syntax relatives. With six weights, their matching italics, as well as small caps and old style figures, this typeface family has a total of 24 weights.

Childish but heavyweight! A rounded bubbly heavy font that was designed for texts related to kids and children. With its melted and soft forms, it brings delight and makes your letters to be pleasant to be read. Apadana font support Persian, Arabic and also Basic Latin. A joyful choice for all the designers and creatives. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Sprouts is probably best described as "Bonsai-Nouveau". It's designed to look 100% organic up close, while maintaining good readability even at a distance. The looped letters terminate in playful swirls perfect for use on the cover of a menu or cookbook, yet would be equally at home in corporate logo art or as initials. Play with it, because creativity is an organic process.

Twang is the work of British designer Timothy Donaldson, who says its appeal lies in its ugliness. Its irregular, craggy features give it an aggressive, eye-catching edge. The font comes wiht an extra set of small caps which add more zest to this cutting edge style. Twang is ideal for retail promotions and fashion-related publications as well as large poster and signage applications.

Another one of those "perfect for a headline that needs an organic and handdrawn look" fonts. Snushane has a lot of character and likes to play with it's organic typographic muscles. I've added 5 different versions of each letter that automatically cycles as you type - and that goes for the Regular, Outline and Inside versions. All of these versions have multilingual support as well!

Pondicherry is a nice city in the South-East of India. It has changed colonial hands over time, but after the last colonial power (the French) left in 1954, it reunited with India. I have always liked the name Pondicherry. It evokes something happy and exotic and I guess I had the same feeling when I developed this font. Pondicherry font is an outlined affair with an uneven baseline and an overall 'happy' feel. It is an all caps font, but upper and lower case differ and you can use them together. Pondicherry comes with a treasure chest full of diacritics.

The term Sanseki (Japanese for Three [Brush] Traces) is used to describe three famous Heian period calligraphers: Yaseki, Gonseki and Saseki. Not that I would ever dream of comparing my messy brush-work with theirs, but the name stuck and I kind of liked it. I used Chinese ink and a high quality brush (which I got in a sale actually) to create this font. All glyphs were hand painted in one go! Sanseki is a very detailed brush font. Upper and lower case letters mingle and there’s even an alternate for every lower case glyph. Comes with an abundance of diacritics.

I grew up with the ‘Save The Whales’ slogan: I remember watching the news and seeing little Greenpeace dinghies taking on huge Japanese whalers, and activists clinging on for dear life. I haven’t heard that slogan for a while: maybe because whaling is soooo 1890’s, but also maybe because the world has other problems to address. Out of respect for the ‘Save The Whale’ activists, I named this fattish font Whale Song. Whale Song is a robust comic font. It was especially created for book covers, product packaging and posters and, of course, it comes with a whale of diacritics.

Since 2017, I have been improving my font creating skills. In the same year, I went through my father's notes and decided to make a font with his handwriting style. I completed the initial version with a lower number of glyphs in 2018. It supported only basic Latin, Turkish, and Azerbaijani alphabets. On the 15th of January 2021, my dad will turn 60. I am planning to finalize the updated version of the Father font by then. 584 glyph, 100+ Languages Set. Multilingual support: Latin basic, Latin Extended, Cyrillic, Central Europe, Turkish, Romanian, Euro, West European diacritics

Whenever I see clippings on TV of demonstrations, protesting against this or that, with people holding up signs, I am surprised about the signs being professionally printed or plotted in Helvetica or Futura condensed. I've even seen signs in Zapfino! That doesn't really cut it, it doesn't look much like a real protest. So I decided to give the protesting world a real good font for the occasion. In German a Revolte is an uprising, I thought that was a good name for the font. Hasta la victoria siempre from your revolutionary type designer Gert Wiescher.

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I redefined this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw". This packet is the semi-serif addition. There never was a Franklin-Gothic with serifs but actually the font lends itself perfectly to a slab-serif. I started with adding a half serif and eventually add a full slab-serif later on.

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

After exploring tessellations for several years, I decided to see how many ways I could tessellate puzzle pieces. I began with a square template and used the same asymmetrical shape for all four edges. By flips or rotation each edge could be fitted in four ways. Eventually I discovered that, given this way of forming tiles, there were 15 distinct shapes that tessellate and these shapes can take a total of 96 orientations. (A note in the November 2016 issue of Mathematical Gazette has the proof for the 15 shapes.) This typeface contains those 15 shapes and 96 orientations. A pdf note here shows some of the tilings possible using only one shape in a pattern. An unlimited number of patterns are possible if shapes are mixed. There are two members of the family, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns.)

Day after day we are running from here to there, living in a society that does not allow us to slow down for a minute. Having so many things on our minds, we often unnecessarily complicate our problems, and our stress is so great that we forget what happiness is. French Bulldog was made to celebrate the unnoticed precious little moments. A hot coffee in the morning, the sea breeze on your face, the sweet smell of a flower, a nap with your dog, a meeting with friends, the tenderness of a maternal caress, traveling, walking, crying, sharing, feeling, being onesself. French Bulldog creates spontaneity from chaos with different shapes working randomly to form finesse or coarseness, just like a casual hand works a brush and tries to follow the rules with unpredictable results. It is versatile and fresh, friendly and relaxed. Flow in the moment.

Someday, a long time from now, in a galaxy not so very far away, you'll find yourself Suddenly transported to the nether-realms of Elsewhere, bathed in the light of the mystic moons of Meanwhile... While you're waiting for that day, check out this font by John "JG" Roshell. It may not provide you with the same transcendental experience, but JG assures us that it really is the next best thing.

Z-Rex looks like the copies I was getting from a lousy copier before I threw it out. You might think it has been eaten by a T-Rex, or maybe it looks like swiss cheese blech.

This font owes its inspiration to the Bauhaus, the celebrated 1920s design collective which more or less invented modernism as we know it in the applied arts: from architecture and industrial design to graphics and typography. In its day, Bauhaus typography would have been considered brutally modern. Nowadays, when unadorned sans serifs are commonplace, it still has a freshness and quirkiness that sets it apart. With this new release I've tried to recapture the zeitgeist of those pioneering days.