Chrysa can be used to give a handwritten and child-friendly style in a funky way. - What was the inspiration for designing the font? My everyday need to use a typeface that looks handwritten but is also readable, charming and easy to use. - What are its main characteristics and features? Freedom, sketchiness and readability at the same time. - Usage recommendations It can be used in communication materials where the copy needs to look handwritten.

There really is no nonsense in this font - but the name comes from my original sketches, where I drew a lot of nonsense! Actually, I couldn't figure out what letters to use from the sketches, so I picked them all!!! That's why each letter has 10 different versions! And what is cool is that they automatically cycles as you type. All you have to do is turn on Contextual Alternates, and the rest is magic!

Serifs gone crazy! They are legible and recognisable and at the same time jumpy, skewed and random! What makes it really cool is that every letter has 5 different versions - and they automatically cycle as you type. That will make your text look quite random and more authentic (rather than obviously repeating letters!) Bonus Jerk also comes with a complimenting Box version - a handdrawn background layer, made to make the letters stand more out!

After previously collaborating on the bestselling Distillery Set, Carolina Marando and Alejandro got together once again to create this Scrapbooker Set, a new series of fonts that multiply the possibilities. One reason scrapbookers became a kind of design demographic is the appeal of what they do. They make albums of memories, diaries composed of different elements that converge together to lead the viewer to a special moment in time. A paper, a photo, a letter, an event ticket, or a dry petal — everything ends up being part of a collage that tells a story. Words have a key role in such a collage. They use different shapes and forms and combinations to state what cannot otherwise be expressed. They make the collage stronger by clarifying a concept, defining an image, and solidifying a memory. These words for memory albums are the reason for this Scrapbooker Set, six different fonts with different impressions and different personalities — so each part of the memory can have its own identity. People tell you to write your own history. Now you can do that in style.

Hey, I'm glad you're here to check out my font! Villosophi is a fun, and adorable handwritten brush script for your beautiful writing. Villosophie is made with love with a brush and It is suitable for logos, titles, product packaging, merchandise, quotes or writing for t-shirt designs. Come try it yourself in the preview section to see this font, what you see is what I made for you! To achieve that adorable handlettered feel, Villosophie comes with a full set of alternative lowercase letters as well as 21 ligatures to play with, giving you a variety to choose from before using. If you use software that supports OpenType, everything is included in the main font that will come to life as you type. Otherwise, I've also included Alternative and Ligature as a cute font pair for you to use. Any question? Contact me and I'll be happy to answer!

Looking for a font that will make your branding stand out? Do you sometimes have an appetite for a bit more wholesome typography? Looking for a fabulous, stylish, and adventure font? We've got what you want. Quaylike-A Handwritten Font This font is more than just another handwritten font. Quaylike is a handwritten font with big, quirky letters. It encapsulates the essence of luxury and elegance. Designed primarily as a captivating handcrafted with retro style. This typeface that is easy on the eyes font that excels at captivating headlines, or large branding text, the font oozes that cute aesthetic that just makes you go “aww!” Our font always includes Multilingual Options to make your branding globally acceptable. Features: Ligatures Stylistic Sets PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

The Nekluch font is the perfect reflection of the classic elegance that designers desire. With a charming Vintage Display style, this font brings an invaluable retro feel to every project. This is the perfect solution to create a classic look and a strong, nostalgic visual branding design. What makes Nekluch truly special is its variety of features. There is a complete family that includes regular, shadow, slant, blur, outline, and shadow slant, allowing you to express your creativity with a variety of typographic styles. Also, don't miss the ligatures and alternates that add a unique feel to each letter. Multilingual support ensures that you can reach a global audience. So, if you are looking for a font that not only looks beautiful but is also easy to use, Nekluch is a wise choice.

Honey Crafter is modern retro font. Made carefully with digital sketch and vectorizing one by one to get best shapes. Honey crafter comes with a lot of alternate that let you make great design composition. What is inside : Multilingual Support Stylistic Alternate, Stylistic set (01,02,03,04), Swash

Palatine - this bold display typeface is a stylish and original, multipurpose font in a modern style with many alternatives, ligatures and swash that are very attractive, with their help you can make your project unique. And also use the main set to highlight exactly what you need.

Bloktor Mosaik JNL from Jeff Levine was at first a straightforward brick design sent to Typodermic's Ray Larabie for preview. Ray decided to run it through a filter to see what would happen, resulting in a font that emulates the look of cut stone or tile.

Hand-crafted by Richard Starkings in the classic style of Will Eisner's The Spirit, this free and easy font made its debut in the pages of...The Spirit! Never let it be said that those awfully nice chaps at Comicraft don't think about what they're doing!

This work is the result of an assignment to digitize and complete a typeface that was used for the intertitles of Kleider machen Leute from 1921. We only had a basic alphabet with some glyphs missing. Sure, Wenzel is not a beaut, but ... what the heck!

NaNa Arabic is a new creation of Naghi Naghashian. It was developed in 2012/2013 on the basis of specific research and analysis of Arabic characters and definition of their structure. This innovation is a contribution to the modernisation of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing greater typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. NaNa Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. The NaNa Arabic Font Family is available in four weights: Thin, Light, Regular and Bold. The design of this font family is inspired by two classic scripts: Kufic and Naskh. The quasi-geometric character of Kofic melds with the calligraphic grace of Naskh, which was invented by Iben Moghleh, an Iranian savant of the ninth century. He lived in Baghdad and was assassinated at the instigation of an Abbasid caliph. He was a polymath and a renowned scholar. I dedicate the design of this font family to the memory of this great man.

Sticky Shoes was inspired by a sign at a local flea market. The artist behind the sign obviously didn’t care much about painting the letters “in the right way” - leaving a slobby and uneven impression. And what is wrong with that? Nothing, if you ask me. I tried my best to capture the charm and innocence behind that sign in Sticky Shoes. I even made the paint version go outside the outline in the Regular version! I added 6 different versions of each letter, and they automatically changes as you type. That goes for all 4 versions, and they even mix very nicely!

There are a lot of things to say about fashion. I never really cared about what people meant was fashion, at any time of my life...well, not counting my teenage years!!! I was a teenager in the 1980ies and I was really into what was hot or not...but when I look at photos of myself from that time, I always wonder what kind of fashion trends I was following! :) Brutal Fashion is really not brutal in any way, but more attractive, nice, charming, handsome, delicate and graceful - with a stunning amount of handmade roughness!

Vandermark began as a simple daydream of what became the 'n' glyph. I considered the elegant balance of a terminal stroke that would never join its supporting stem. The premise was simple, but further experimentation was required for other parts of the alphabet. Vandermark follows a somewhat flexible array of structural rules and curve arrangements that called for considerable sketching to harmonize. The names I choose for my typefaces have to look decent when set in the signature type. Considering its improvisational development, it was only fitting that the namesake is a jazz musician and fellow Chicagoan, Ken Vandermark.

Intouch is a cool, and display font that has a cool and funny, street art vibe. A playful all-caps Display font that includes four versions font of each letter which can be used separately or on top of each other to achieve a different look. This font is PUA encoded which means you can access all of the glyphs and alternates with ease! (please type the preview to see if I have what you need!)

Comet Bloom is an abstract geometric font that has a unique style, modern but has nostalgic vibes. It is a carefully crafted design that combines modern style with retro style to make the font more aesthetic. This font will be suitable for logo design, packaging, eye-catching headlines, branding, urban and retro style design, game and movie posters, and other dynamic designs. What you'll get: Uppercase and lowercase Numbers & punctuation Multilingual support Unique Kernings Hope you enjoy our font!

The Repra font creates a vintage feel by adding alternative glyphs that create a retro style, ideal for those of you who want to bring a retro style to your work, with unique alternative glyphs that are perfect for posters, packaging projects, flayers or branding with a retro feel. Repra Uppercase Lowercase 75+ Language Alternate & Ligature So what are you waiting for? immediately purchase this font, feel free to comment, or send me my PM. Thank you for seeing

Nickburg is a display font that exudes timeless charm. The oversized uppercase letters of this font are impossible to ignore. Each character of this font commands attention with its substantial size. What sets Nickburg apart is its sharp corners. The unique combination of vintage and sharpness creates a captivating contrast that elevates your text and makes it unforgettable. This font includes ornaments as a special bonus. Nickburg fits in headlines, logos, branding materials, and many more.

Onyon is a bizarre typeface with vertical stems that thicken in the middle and narrow at the ends. It was created as an experiment to see what a typeface would look like if the vertical stems were diamond or rhombus shaped. The letters are angular with unusual triangular serifs and they have no curves. It is a harsh, cruel typeface that will make your eyes water if you use it at small point sizes for text.

Jeenull is a distinctively appealing typeface with a thick character that gives a distinct impression ideal for a variety of serious and casual applications. What are you waiting for? Get this font and enjoy the beauty of letter combinations in words that you may use in a variety of projects. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. Start using our fonts for your amazing projects.

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar

Geometric Precision Let’s step into the world of Campeno, a Geometric Sans Serif font that embodies precision and order. This font is the epitome of geometric perfection, making it an ideal choice for various editorial applications. Editorial Excellence Campeno’s geometric form is what sets it apart and makes it a top choice for editorial needs. Whether you’re working on magazines, long-form text, or other editorial projects, its geometric precision enhances readability and offers editorial excellence. Versatile Typography What makes Campeno even more exceptional is its versatility. It seamlessly adapts to diverse design contexts, ensuring that it can be used for a wide range of projects, from magazines to websites and beyond. Engaging Readability Beyond its geometric aesthetics, Campeno excels in providing engaging readability. It guides the reader through the content, focusing on the message while maintaining a visually appealing design. In Conclusion In summary, Campeno – Geometric Sans Serif is the font that brings precision and clarity to your editorial projects. Its geometric form ensures that your content is not only engaging but also visually appealing, catering to a broad readership while maintaining a high standard of clarity. Whether you’re working on magazines, websites, or other editorial endeavors, Campeno stands out as a font that combines aesthetics with functionality, offering editorial excellence for your projects.

What started as an image of a single vintage brass stencil of the letter 'P' spotted in an online auction has turned into Blacksmith JNL. From that single letter Jeff Levine has created a complete Western stencil font, retaining the hand-made look of the original stencil piece.

Raggedy is a contemporary and lively font that exudes a notably impactful presence. What distinguishes it is the dynamic motion effect created through variations in rhythm, lengths, and lettering. This font proves especially beneficial for logo designers, urban musicians, and any projects embracing rebellion and avant-garde concepts.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

Introducing Black Ravens, a freestyle dry-brush font with a natural single brush. Black Raven's is a street urban font, youth theme, sporty, and masculine looks that visualize smooth strokes, and rough texture at the same time. This font is an all-caps font that perfects for displays, title, logos, packaging, craft, labels, T-shirt, hoodie, tote bag, posters, hats, stickers, quotes, and any advertising which needs energetic typography. Black Ravens equipped with 31 stylish ligatures, swashes, multilingual, and alternates characters that you can mix and match to get your own typographic design!

Since Mommie, I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extentions to the characters. Even in an upright typeface. Narziss is very elegant in big headlinesizes. Use it only very big. What was the inspiration for designing the font? spencerian calligraphies and neoclassic contrast What are its main characteristics and features? Narziss is very elegant in very big sizes. The Regular version is without any ornament. The Drops version has some character like the e and the k that are more unique. The Swirls version has got carefully added swirls, that come out of the basic stroke and flow into other characters. Usage recommendations: Big headlines in magazines, brochures and invitations

The first version of Libris I designed in London in 1997 when I worked for Frank Magazine. Later Libris was used in the magazine for text and display. In 1999 Libris was chosen as the corporate typeface of Bally Switzerland. I also was involved in the design of the entire branding. NewLibris is the version that was published in my own shop. - What was the inspiration for designing the font? NewLibris is an elegant contemporary easy to read sans serif. It has a wide variety of weights and proportions that are easy to use in corporate branding and magazines. - What are its main characteristics and features? contemporary humanist legible sans serif - Usage recommendations: corporate branding and magazines and other publications

First things first: I am really not a Star Trek fan. I did come up with this name, which I thought had a good ring to it. When I checked whether the name was already taken, I found out that Black Cluster is a term from Star Trek. Now you want to know what a Black Cluster is, so just check out poster 2 and read all about it. For me, Black Cluster is a handmade ink font, with a lot of jumping glyphs, a lot of diacritics and a handful of ligatures. It may be rough, but you will be pleasantly surprised by what it can do to a design! May the font be with you. Oh, no, that was from Star Wars…

This elegant condensed serif display typeface is perfect for designs that require a touch of class and nostalgia. Inspired by ancient concepts and the nostalgic classic era, Thronemy Font adds a timeless and sophisticated look to any design project. The condensed serif design of Thronemy Font is both elegant and easy to read, making it perfect for headlines, titles, and other design elements that need to be easily understood. Plus, its retro style is perfect for creating logos and headings that will make your designs stand out from the rest. Thronemy Font is a versatile font that can be used in a variety of design projects such as invitations, posters, book covers, packaging, magazine layouts, and more. No matter what your project requires, Thronemy Font can help you achieve a timeless and sophisticated design that will leave a lasting impression.

The name Saluzzo is given to this font in honor of Giambattista Bodoni (1740–1813). Bodoni was born in the town of Saluzzo, Cuneo, Italy, and died at the age of 30. Saluzzo is a contemporary interpretation of Bodoni, retaining its elegant thin serifs and contrasted with heavy downstrokes. What makes Saluzzo unique is that it was approached from a calligraphic point of view. Also unique in this interpretation is the fact that it is a stencil. Saluzzo is a great choice when you need a font that is contemporary, timeless, and distinctive. Perfect for Advertising, Corporate identities and Packaging design, Fashion, Technology, Hospitality, Travel, and Retail applications. Saluzzo Regular Opentype is a Stencil font that is Contemporary, Distinctive, and Timeless.

Weaving is a family in which the letters fit together so that wavy lines separate them both horizontally and vertically. It creates this effect by alternating letters on upper-case keys with those on lower-case letters and this alternating is done automatically in applications that support the OpenType feature of contextual alternatives (calt). (The upper-case can be used alone but it unlikely that the lower-case characters could be used by themselves.) The family is a thinner and condensed version of the typeface Woven, but in condensing it, the tessellation properties that a were in Woven are lost. It is a decorative display face but because there are few typefaces similar to it, it is hard to predict what uses it may have. Be creative!

The design of the typeface Moskau Grotesk and Moskau Pattern is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complimentary pattern fonts emerged.

The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complementary pattern fonts emerged.