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

The idea for this completely new font design with overlapping characters came when Axel Stoltenberg, longtime IKARUS program developer at URW + +, visited a restaurant. As it can be seen quite often , the daily specials were offered handwritten with chalk on a blackboard applying a writing technique never been available before for digital fonts: each character is partly covered by its predecessor creating a three-dimensional effect. The implementation of this unusual notation for digital setting required a lot of programming and testing until all necessary character variants were produced and set properly always using the correct form. In order to achieve this, the OpenType Pro font ThreeDee contains about 12,400 characters and all the necessary OpenType features (GSUB ) for the automatic setting in OTF savvy application programs. The slightly playful basic design for ThreeDee was created by Anna Stoltenberg , the daughter of Axel, specially devised for the innovative representation and support of its special nature. The shadow generated with IKARUS even intensifies the 3D effect. As is well-known, making use of the embedded OTF features, i.e. the automatic access to all the 12,400 character variants , a corresponding text / layout program ( InDesign, Quark Xpress, current Open / LibreOffice or MS Word etc. ) is required. ThreeDee is a headline font that will unveil all its charisma and exceptional quality at appropriate, larger sizes.

This is Range Sans, the sans-serif counterpart to Range Serif . It can be categorized as a grotesque, with the idiosyncratic angular details from the serif family making themselves known in the arches and bowls of the lower case. The range of weights is larger than Range Serif, with two more weights at the lighter end of the spectrum. The weights from light to black correspond to their seriffed sisters, so can be interchanged with them freely while maintaining a similar text color and vertical metrics. This is useful for adding emphasis; Range Sans is deliberately lacking an italic, but the italics from Range Serif work better than you might expect in running text, particularly for the light and regular weights. Range Sans has a contemporary, somewhat geometric look that lends itself to uses such as corporate identities, minimalist graphic design, and logos. The middle weights do work well in running text, however, with the angled details being less noticeable at small sizes. Designed for demanding typography, supporting most Latin-based languages, Range Sans is equipped with true small caps for all weights, an array of numeral styles (proportional- and tabular- lining and oldstyle figures, small cap figures, numerators, denominators, superscripts and subscripts/scientific inferiors), automatic fractions, a set of useful arrows, case-sensitive forms, and a range of currency symbols including recent additions: Turkish Lira, Indian Rupee and Russian Ruble.

Forget that hipster coolness for a minute and design something cute and charming with LiebeLotte! Go ahead and make beautiful things with her: birthday cards, wedding invitations, love letters, new signage for your deli—so many things look sweeter when you use this well-crafted handwriting font. We’ve put all of our heart and soul into this typeface—it took us a whole year to draw, refine, and interconnect all these loopy letterforms. We hope it’s really hard to tell that this is a typeface at all—the perfect connections and many swash variations make it look like you actually sat down with a pen. A pretty good pen in fact. LiebeLotte comes with a state-of-the-art character set. She also sports a variety of ligatures and alternative forms, available through OpenType features. (Please make sure your software supports ligatures for the letter connections and OpenType if you wish to use the advanced features.) Advanced designers, please take a look at our best-sellers LiebeErika and LiebeKlara: the all-new LiebeLotte makes a great companion for these popular fonts. We do think you’ll have plenty of fun with this versatile package of loopy letters for letter lovers. Or lovely letters for loop lovers. And hey, you can absolutely use LiebeLotte to make happy hipster designs, too! Promise!

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in a magazine from the Otto Maier publishing house, Ravensburg, which was issued sometime in the years shortly before WWI. The magazine is entitled ”Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete“ (Collection of scripts for technical specialists: reduced scripts of the most significant alphabets) and published by Karl O. Maier. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. The characters have been scanned, digitized and greatly magnified. Special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch. Especially worthy of note are the Jugendstil forms characteristic at the turn of the19th century. In comparison, many alleged ”ultramodern“ font types of today suddenly look quite old-fashioned. Maier’s Nr. 21 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

Kastella Script is essentially an artist's dream tool. It feels as if you're not just typing but crafting a visual narrative, almost like putting the finishing touches on a piece of design art. It's not about the text; it's about the story it tells. The font is equipped with heavy letterforms and a range of stylistic swashes, providing a versatile toolset for modern design projects, from branding to editorial layouts. Use underscore _ to make an underline. Example: Bea_uty Use multiple underscore for different swashes. Example: Super____human Kastella Script is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. Behind this exquisite creation is Mans Greback. Known for pushing the boundaries of type design, Greback has ventured into the intricacies of aesthetic diversity with Kastella Script. His portfolio is a testament to his versatility and daring, turning simple alphabets into powerful visual narratives.

Introducing the Buckwheat Font Collection; Each and every font within the Buckwheat Collection was carefully created to be timeless, super versatile, and effortlessly cohesive. An essential kit to come back to time and time again for any number of design projects; from clean and modern, to rough and organic. What's Inside? - Buckwheat TC Regular: A condensed heading/titling font boasting real small caps (along with numerals, currency glyphs and more to match the small caps). - Buckwheat TC Sans: A rounded sans-serif font with several stylistic alternatives for various capitals (A, B, G, H, J, K, P, and R). - Buckwheat TC Script: Tying everything together, a simple yet effective monoline script font designed to look great big or small. - Rough and Smooth Styles: All of the aforementioned fonts are available in both smooth and textured styles. The textures are consistent throughout the collection, improving the cohesion of the fonts and eliminating the need to texture them yourself. - All of the typefaces within this collection include multilingual support and a full western character glyph range.

Music Sheets is a font that will produce blank music manuscript sheets, giving the main Clefs, Time Signatures, Stafflines, Guitar Tab, plus other useful symbols - in fact all you need to make simple manuscript of your own design, so you can put in the notation yourself. You can use it with ordinary Word Processors or top-end graphics programs equally easily. Using it is extremely simple - for instance into the text-box below type TBA for Treble Bass Alto Clefs, or 234567 for the basic Time Signatures from 2/4 up to 7/4, or L for the Lines. Essentially it’s a cut-down and slightly modified version of our Blank Manuscript font, (which is fairly comprehensive for more advanced scoresheets but obviously a bit more complex) and uses a similar intuitive method for inputting characters. There’s plenty of examples provided, plus a short guide explaining the character layout, which is extremely easy. Download the zip to get the guide and examples, and only install one version - either OTF or TTF, but not both.

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.

Full Tolls is the younger brother of original Full Sans, Full Neue and Full Slab. Full Tools started with Social Media Icons. In the following days coming new icons. For example "Full Tools - Communication" and "Full Tools - Emojis" and mode. To take up less space and simplifying icons on the web and phone apps. All icons bigger 110% from another Full Brothers. Full Tools is the perfect font for web use. You can enjoy using it. EMOJI ICONS - Amazed - Angry - Beard - Crying - Dead - Dissapointed - Embarrassed - Evil - Friendly - Happyness - Happy - Hilarious - In-love - Indifferent - Kiss - Laughing - Lovely - Muted - Nerd - Quiet - Sad - Scaret - Smile - Stress - Sunglasses - Suprised - Suspect - Thief - Tongue - Wink SOCIAL MEDIA ICONS - Amazon, - Android, - Apple, - Bechance, - Bing, - Box, - Buffer, - Creative Market, - Crome, - Delicious, - Deviantart, - Dribbble, - Dropbox, - Etsy, - Facebook, - Facebook Like, - Facebook Unlike, - Flckr, - Firefox, - Foursquare, - Google+, - Grafiport, - Hi5, - Howcast, - Html5, - Instagram, - Klikstarter, - Linkedin, - Messenger, - Myspace, - Myfonts, - Opera, - Path, - Paypal, - Periscope, - Pinterest, - Plaxo, - Quora, - Reddit, - Rss, - Shutterstock, - Skype, - Snapchat, - Spotify, - Stumbleupon, - Twitter, - Trello, - Tumblr, - Vimeo, - Vine, - WhatsApp, - Wikipedia, - Wordpress, - Yelp, - Youtube You can enjoy using it.

Inspiration The pounding tribal rhythms of Afrobeat music is expressed through this psychedelic brand new font, Afrobeat. Every letter becomes art as every letter is elegantly placed side by side, like music notes, creating music for the eyes. Afrobeat is a musical style performed by many African artists such as Fela Kuti, Femi Kuti, Antibalas and many more, which is a fusion of jazz,funk, and psychedelic rock, originating from the 60s and was based on the political movements of Nigeria. The Font This font is perfect for when you want to use eye-catching big texts for anything from posters and flyers for concerts, events, parties, to CD covers, advertisements, and art, but it´s especially striking for printed projects. Afrobeat Light thinks green Think green. With Afrobeat light you save up to more than 35% of your ink toner. Being green in no longer a luxury, but an an essential. By using Afrobeat light you openly demonstrate that your company integrates the 3 Ps into its operations: People, Planet. Profit. Go ahead - be green! Check out also the original ‘Afrobeat’

Introducing Natalisa, a sophisticated sans serif font that brings a perfect balance of elegance and versatility to your design projects. With its clean lines and modern aesthetics, Natalisa is ideal for creating sleek logos, captivating headlines, engaging advertisements, and eye-catching branding materials. Crafted with meticulous attention to detail, Natalisa offers a harmonious blend of uppercase and lowercase letters that seamlessly complement each other. Its refined letterforms lend a timeless appeal, making it suitable for a wide range of applications. Whether you're designing for print or digital platforms, Natalisa will elevate your projects with its sleek and professional look. Not limited to its visual appeal, Natalisa is packed with essential features. The font includes a comprehensive set of numbers and punctuations, ensuring seamless integration into your designs. Its multilingual support allows you to effortlessly communicate your message in various languages, making it a versatile choice for global projects. With PUA encoding, Natalisa provides easy access to special characters and glyphs, expanding your creative possibilities. Additionally, the font offers ligatures that enhance the fluidity and elegance of your typography.

A modern black-letter, so to speak. Composed of a few basic elements with a wide-quill ductus. Faber Fraktur was based on the idea that it must be possible to create a modern black-letter type. The typeface is ”constructed“ according to the same principles as a script without serifs: as few varied basic forms as possible, omission of frills which make the type difficult to read and repetition of similar forms. The typical contrasting strokes of the original handwritten black-letter script are retained nonetheless. The elements of this typeface were even pre-formed with the quill. All characters are reduced to their basic skeleton. The fanciness and manifold ”breaks“ or fractures typical of black-letter typefaces are considerably reduced to just a few essentials. Faber Fraktur is a very legible type perfectly suitable for long texts. It does not appear nearly as foreign and archaic as the old black-letter fonts. The capital letters especially have a charm of their own radiating a kind of playfulness in spite of their severe form.

Molde is a super sans serif font family, belonging to the neo-grotesque style. Formally, Molde was inspired by the extreme sobriety of famous post-Bauhaus Swiss Movement of the mid-twentieth Century. The masters of this style are famous for eliminating all the ornaments, as a brilliant mind said “Ornament und Verbrechen”(Ornament and Crime) as a creation law: ending up with only the essential. Thanks to the purity of its shapes, Molde spreads the message as clear as possible and this quality makes it much more versatile than any other typography. Molde can be therefore used in all types of designs, If we consider its personality and its amount of weights and widths. Molde is composed of 6 widths ranging from the tablet to the expanded and in the set of characters includes a Unicase version and a small caps version. The family is composed of 3 parts: the regular version, the italic version and the reverse version. Each one of them has 9 weights. Each weight has 649 characters and it has been thought for 219 latin languages.

Bronto is a typeface that mutated many times: it went from being morphologically conventional, to have soft features, to finally have some inverted contrasts that made it more dynamical; but all this without losing sight of the meaning of a typefamily, and the aim pursued by this work: Bronto doesn’t behave as a piece of art, but as a tool. In some weights, this typeface possesses fluffy characteristics and is boldly bighead, while in other versions is slightly contrasted and controlled; this in order to maintain the essential features of the typefamily along the versatility and usability of the 20 variations that composed it. Bronto it’s inspired in neo humanists typographies of the 20th century, and in Chilean lettering. This kind of work was made by the spontaneity of the paintbrush, which gave an inverted contrast to some characters. This typeface has plenty of OpenType features, specially an extensive set of ligatures in all weights. Bronto is well suited for motion graphics, letterings, web, advertisings, magazines and books.

Luminaire is an intriguing and modern sans serif font. With its clean and minimalist characteristics, Luminaire exudes a professional and contemporary impression when used in designs. One of the captivating features of Luminaire is its alternate style, specifically the display style. This unique feature allows users to combine two different styles within a single word, creating a distinct and eye-catching visual appearance. In display mode, Luminaire offers experimental and striking variations of letterforms. Certain characters exhibit alternative shapes with artistic touches, such as curved lines or changes in the basic structure of the letters. This grants greater design flexibility and makes words written in Luminaire font stand out. Luminaire also maintains the essential aspects of clarity and legibility expected from a sans serif font. When used in longer texts or paragraphs, this font remains easy to read and provides a professional and well-organized appearance.Overall, Luminaire is an appealing sans serif font with a modern style and a unique alternate style feature. It can add artistic touches and uniqueness to your designs while preserving the important aspects of clarity and legibility.

ACEISIDA is a font that supports over 100 languages from around the world. Basic and some Extended Cyrillic, Basic, Additional and Extended Latin, Basic Greek, and some newly added characters recently entered into use in everyday life. ACEISIDA is a font that elegantly combines the timelessness of antique design with the modernity of the grotesque. The absence of serifs results in a universally readable and sophisticated format. It was designed to focus on the main text, complementing other design fonts without disrupting them. This font is perfect for those who appreciate minimalism and refinement, and its smooth lines make it suitable for various design projects. It adds understated elegance to any design, making it the ideal choice for those who value simplicity, modernity, and sophistication. The font includes many glyphs for the Kazakh language, catering to the ongoing transition to the Latin script and accommodating various spellings. It also features a basic set of characters and glyphs with accents for the Greek language and an uppercase version of the letter “eszett” for German.

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and even today inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. Chauncey H. Griffith’s Poster Bodoni displays characteristics of the advertisement fonts of the first half of the 20th century. The font was most often used for posters and signs, eventually including neon signs.

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society's usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design. To those adventurous types (pun intended), Canada Type presents this new face called Go. It is very much a child of the new millennium, inspired by the unmistakable minimalist style of modern 21st century corporate logos, recent design shifts in electronic music and club-marketing collateral, and disc jockeys who have enthusiasm, energy, precision and total control of each and every vibration traveling from mixer to speakers. Go is an original modern techno-lounge face that offers the eyes pleasing collages of friendly minimal forms that give the words an impression of simplicity and depth at once. This is a font that prides itself on its precise grouping of elements and just enough original creativity in combining those elements. The precision builds the sharp edge sought for modern statements, while the creativity keeps the message rejuvenated, clear and interesting. Go's character set consists of a versatile and unexpected, yet mild mix of the uppercase and lowercase forms, with multiple variations on the majority of the letters. The e being a vertical mirror of G is only the first of the pleasant surprises. More than 30 alternates are inside the font. All the accented characters in Go have been meticulously (perhaps obsessively) drawn to be unusual for logos and short statements. Take a look at the character map and be ready for a space-age surprise. To borrow a Star Trek cliché, this font can Go where no font has gone before.

Noad Sans is an experimental sans serif typeface with a strong character and some very unique visual features. At the core of Noad Sans is a sturdy sans serif with closed apertures and fairly simple letterforms. The defining feature of Noad Sans, however, is its visualised nodes: all control points of Bézier curves in each of the fonts in the family are intentionally visualised. The effect of this feature is largely defined by the usage: in titles and larger bodies of text, the visualised nodes stand out and create a rhythmic pattern of their own. In smaller sizes, the sans serif base of the font becomes more prominent and the nodes create a visual fuzz. Noad Sans comes in 6 styles and as a Variable Font with two axes–Optical Size and Slant. The size of each node can be changed from the smallest (Mini and Mini Italic) to the largest (Extra and Extra Italic). Variable Font technology allows you to fine tune the size of the nodes and the slant angle, so that your version of Noad Sans can be truly unique. Noad Sans has a large character set of 570+ glyphs, covering the vast majority of Latin based languages. In addition to that there are dozens of special characters, punctuation, numbers, and symbols. Noad Sans is equipped with a number of useful OpenType features, such as Case-Sensitive Punctuation, Stylistic Alternates, Ligatures, Fractions and many more. Noad Sans began as an experimental project, and during its development the spirit of experimentation was at the heart of the project. Thanks to the unique nature of the typeface, it can feel at home in a variety of settings: from web development, graphic and product design to more novel uses like 3D and NFTs. Noad Sans type family includes 6 static fonts (Mini, Mini Italic, Regular, Regular Italic, Extra and Extra Italic) and one variable font. Each style can be purchased separately. There is a free trial version of Noad Sans that can be downloaded free of charge on MyFonts. For more information on the typeface, feel free to download Noad Sans PDF Specimen.

The font family Univers? is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry's art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts - quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Piegnot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas'sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989. Adrian Frutiger continues to do design work with Linotype right up to the present day. In 1997, Frutiger and the design staff at Linotype completed a large joint project of completely re-designing and updating the Univers family. The result: Univers Next - available with 59 weights and 4 Linotype Univers Typewriter weights. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. Univers has the uncanny ability to combine well with fonts of many different styles and origins: Old style fonts such as: Janson Text, Meridien, Sabon, Wilke. Modern-stressed fonts such as: Linotype Centennial, Walbaum. Slab serif fonts such as Egyptienne F, Serifa. Script and brush fonts such as: Brush Script, Mistral, Ruling Script. Blackletter fonts such as: Duc De Berry, Grace, San Marco. Even fun fonts such as F2F OCRAlexczyk, Linotype Red Babe, Linotype Seven."

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

TT Lovelies Script useful links: Specimen | Graphic presentation | Customization options About TT Lovelies Script: Without any false modesty we can say that TT Lovelies Script is one of the most complicated projects we have ever carried out – there are 1115 glyphs, more than 2000 contextual alternates, 10000 kerned pairs and a large number of OT features, including ligatures and Old Style numbers. The most important characteristic of this font is that it is really seamless. We've done the impossible: in TT Lovelies Script, even capital letters are connected to lower-case letters without any breaks. The base for our typeface is original calligraphy by Russian designer Alena Korobanova. The beautiful handwriting was painstakingly crafted into a fully functional font. TT Lovelies Script is a very lively and playful typeface with some unpredictable nuances. Turn on the use of OpenType features CALT & DLIG in your graphic editor and use the font to the full. Every lower-case letter has characteristic pen strokes which begin and end a word. The pen strokes are turned on automatically when you accordingly type two hyphens at the beginning and at the end of a word. For instance, type '- - apricot - -' and you'll see the beautiful pen strokes at the beginning and at the end of the word. TT Lovelies Script uses a great number of contextual alternates and ligatures which help maintain the handwritten impression. For each letter, a separate grapheme is created for the end of a line, and we've also integrated the Case Sensitive OpenType feature to make working with upper-case characters easier. We've enabled onum, sups, sinf, numr, dnom, frac, ordn as well in order to work with figures. To benefit from all of these wonderful options, you need to use software which supports OpenType features. TT Lovelies Script 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, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, 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.

INTRODUCTION When I started the first Selfie back in 2014 I was aware that I was designing something innovative at some point, because at that time there were not too many, (if any) fonts which rescued so many calligraphy features being at the same time a monolinear sans. I took inspiration from the galerías’ neon signs of my home city, Buenos Aires, and incorporated the logic and ductus of the spencerian style. The result was a very versatile font with many ligatures, swashes and a friendly look. But… I wasn’t cognizant of how successful the font would become! Selfie is maybe the font of my library that I see the most when I finally go out, (type-designers tend to be their entire lives glued to a screen), when I travel, and also the font that I mostly get emails about, asking for little tweaks, new capitals, new swashes. Selfie was used by several renowned clients, became part of many ‘top fonts of the year’ lists and was published in many magazines and books about type-design. These recognitions were, at the same time, cuddles for me and my Selfie and functioned as a driving force in 2020 to start this project which I called Selfie Neue. THE FONT "Selfie for everything" Selfie Neue, because it’s totally new: All its glyphs were re-drawn, all the proportions changed for better, and the old and somehow naive forms of the first Selfie were redesigned. Selfie Neue is now a family of many members (you can choose between a Rounded or a Sharp look), from Thin to Black, and from Short to Tall (because I noticed the feel of the font changed notoriously when altering its proportions). It also includes swashy Caps, which will serve as a perfect match for the lowercase and some incredibly cute icons/dingbats (designed by the talented Melissa Cronenbold) which, as you see in the posters, make the font even more attractive and easy to use. You'll find tons of alternates per glyph. It's impossible to get tired with Selfie! Like it happened with the old Selfie, Selfie Neue Rounded was thought for a really wide range of uses. Magazines, Book-covers, digital media, restaurants, logos, clothing, etc. Hey! The font is also a VF (Variable Font)! So you can have fun with its two axes: x-height and weight, in applications that support them. Let me take a New Selfie! TECHNICAL If you plan to print Selfie Neue VF (Rounded or Sharp), please remember to convert it to outlines first. The majority of the posters above have the "contextual" alternates activated, and this makes the capitals a little smaller. I'd recommend deactivating it if you plan to use Selfie for just one word. Use the font always with the "fi" feature activated so everything ligatures properly. The slant of the font is 24,7 degrees, so if you plan to have its stems vertical, you may use Selfie with that rotation in mind. THANKS FOR READING

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

The Tecn@ Dark&Light Triangle Background Nomenclature Font family is differentiated by the direction of the triangle tip in the 4 cardinal points. The family were designed to head, enumerate, indicate or highlight writings or design plans, for this reason, the characters are available only in capital letters and some signs or symbols that can serve such purposes. A triangle or empty character is included so that the user can use it overlaying any character of his choice or to be used alone. What is Lorem Ipsum? Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Why do we use it? It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like). Where does it come from? Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, "Lorem ipsum dolor sit amet..", comes from a line in section 1.10.32. The standard chunk of Lorem Ipsum used since the 1500s is reproduced below for those interested. Sections 1.10.32 and 1.10.33 from "de Finibus Bonorum et Malorum" by Cicero are also reproduced in their exact original form, accompanied by English versions from the 1914 translation by H. Rackham. Where can I get some? There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn't anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on the Internet tend to repeat predefined chunks as necessary, making this the first true generator on the Internet. It uses a dictionary of over 200 Latin words, combined with a handful of model sentence structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is therefore always free from repetition, injected humour, or non-characteristic words etc.

The world of typography has been forever transformed by the innovative and avant-garde typeface that is Silicone. Its unique, all-caps letterforms embody the futuristic essence that forward-thinking graphic designers crave. Silicone is a synthetic typeface that boasts a smooth, sleek surface with soft strokes and letterforms that will captivate the viewer’s attention. Each letter has been meticulously crafted to evoke a sense of calm and sophistication. With seven weights available, Silicone is a versatile typeface that can be tailored to meet the demands of any design project. Whether you need a chunky weight for a bold headline or a laser-thin weight for delicate body text, Silicone has got you covered. And let’s not forget about the italics! With its own distinct style, the italics add a touch of elegance and refinement to any composition. Silicone is more than just a typeface, it’s a high-tech voice that communicates your message with precision and style. Don’t settle for ordinary when you can elevate your designs to the extraordinary with Silicone. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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

Unleash the Power of Motion and Speed with the ApexPro font – a dynamic, sporty font designed for those who crave action, speed, and innovation. This typeface is meticulously crafted to embody the essence of the automotive world, fitness, and cutting-edge technology. Key Features: Style: The ApexPro boasts a rounded and soft appearance with bold, italic, and slashed elements, giving it a sporty and energetic vibe. The letters are carefully crafted, providing a clean and sharp visual for maximum impact. Design Elements: Inspired by the sleek lines of high-speed vehicles, the font carries a rounded, beveled, and cutout aesthetic, adding a touch of modernity and innovation. The use of military and stencil elements infuses a sense of power and dynamism. Versatility: The ApexPro is not just a font; it's a statement. Perfect for automotive enthusiasts, gym-goers, and tech aficionados, it seamlessly blends into various contexts such as sports events, gaming interfaces, and futuristic designs. Target Audience: The ApexPro is tailored for individuals who appreciate the fusion of technology, speed, and style. The target audience includes: Age: 18-35, seeking dynamic and trendy design elements. Gender: Unisex, appealing to both males and females. Needs: Graphic designers, gamers, fitness brands, and automotive enthusiasts looking for a font that embodies speed and action. Why the ApexPro font? For Speed Enthusiasts: The ApexPro brings the thrill of high-speed action to your designs. For Fitness Brands: Reflect the energy and dynamism of your fitness brand with the ApexPro. For Gaming Interfaces: Elevate your gaming experience with a font that resonates with movement and power. File Inclusions: Languages Covered: Multilingual support for a global audience. Numbers, Symbols, and Punctuation: A comprehensive set for versatile use. Lowercase Letters: Lowercase letters for a balanced and cohesive look. Fuel your creativity with the ApexPro – the font that doesn't just communicate, but accelerates your message. Download now for an experience that goes beyond the ordinary.

As I contemplate the beauty of Subroc, my mind drifts to a melancholic state, reminiscing the memories of a bygone era. This debonair joined-marker script typeface embodies a nostalgic charm that is difficult to resist. If your application supports ligatures, Subroc’s custom letter pairs automatically substitute for a more natural look. The resulting effect is akin to a handwritten note from a long-lost lover, carefully crafted with every stroke. But what truly sets Subroc apart is its inconspicuous, granular texture. The grittiness of its design transports you to a different time, evoking feelings of nostalgia and carefree abandon. Subroc’s beauty is not for the faint of heart, as it carries the weight of a thousand emotions with it. But for those brave enough to embrace it, the result is a breathtaking amalgamation of history, art, and emotion. So let Subroc be your muse, and let your words flow freely, imbued with the essence of a bygone era. Let your message carry the weight of history, and leave a lasting impression on all who see it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.