Discover an exquisitely elegant modern typography pairing with the Simple Serenity Font Duo. This beautiful set combines a contemporary take on a classic serif with a clean & modern fine calligraphy script—creating the perfect pair for stunning logos, wedding designs, quotes, display text and more. This font family includes; Simple Serenity Script • A clean, elegant hand-drawn script font containing upper & lowercase characters, all punctuation and numerals. Contains 50 ligatures to help the text flow naturally and add a custom-made feel. Includes 9 alternate characters for d,k,f,g,h,i,j,t,y which have extra flourishes. Also includes beginning and end swashes for every lowercase letter. Simple Serenity Serif • A modern take on a classic serif font. Contains uppercase-only characters, all punctuation & numerals. Includes 14 ligatures for extra flair and uniqueness, as well as 10 alternate characters for Q,A,M,E,R,K,U,F,H,W. Using Ligatures and Alternates; Both fonts contain a number of 'Standard Ligatures' (unique double-letter pairings) and 'Stylistic Alternates' (alternative letter designs) to provide you with more customisation options. Make sure these functions are switched on in your software in order to access these characters. You can also access these characters via a Glyphs panel. This is available on most Adobe software & Affinity Designer. Language Support; Both fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Icelandic, Slovenian

Sunlight Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with handleting style. Designed to bring style elegance. Sunlight Script attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Sunlight Script has 422 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

Dongatta Story Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with hand-lettering style. Designed to bring style elegance. Dongatta Story attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Dongatta Story Script has 290 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac). How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Graphitel is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with hand-lettered style. Designed to bring style elegance. Graphitel is such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Graphitel Script has 594 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

I will spare you the long-winded description this time and all of the motivations and witty innuendoes. Quite frankly, I forgot about creating this typeface and it sat on my hard drive for almost a year. Luckily, my daughter Isobel saw the initial drawings one day and ask me about those pretty letters and I remembered… yep, that happened. That said, time made this a better typeface… with fresh eyes and time, much was redrawn, retooled and expanded to something I truly enjoy playing with. Shameless makes extensive use of Contextual alternates to create a proper ebb and flow from letter to letter. Interestingly, there are only a handful of ligatures… instead many special combinations are accounted for solely by relying on Contextual Alts. Mix in Stylistic Alts, Swashes, responsive Titling Alts, numerous Style Sets, etc and you can have a lot of fun. I created 2 versions. A ‘Standard’ version that has 2200+ characters and a ‘Deluxe’ version that has 2400+ characters and an interesting caveat… I plan on expanding the Deluxe version any time I have an idea to add to the typeface… and as such, buyers will receive all of those updates at no charge (with updates going directly to the distributors). You get what you pay for… no insane discounts. Oh, and if you are wondering… Shameless is based on my handwriting using Kuretake Zig CocoIro pens. I love these pens.

Working on a Star Wars project? This font is in Aurebesh, the main written language of the Star Wars universe. In this case I designed a font that looks like it has been scratched into a wall. All the additional letters from the Aurebesh character set are includes, as well as numbers and symbols.

The name says it all: here's a faithful revival of a Schelter und Geiseck release from 1911, designed by Moritz Greishaber and originally called Monos. Although it predates the Art Deco era, it has a Deco vibe. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Introducing new display vintage typeface with 2 style clean and textured called “Clamiroe”. This font inpired by old vintage packaging design, vintage flyer headlines, and vintage sign. Clamiroe is all caps font is good for your branding, poster design, packaging, book cover, flyer, t-shirt design, and more. This typeface include 38 Ligatures and Alternates.

Rouganeck is an elegant and modern sans-serif font. Fall for its ravishing style and use it to create gorgeous wedding invitations, logos, branding, headlines, beautiful stationary art, eye-catching social media posts, websites, and much more! This font is PUA encoded which means you can access all of the amazing glyphs with ease!

Jeff Levine took Crown Heights JNL [named after his childhood neighborhood in Brooklyn, NY] and gave it a make-over; transforming it into a Western-style all-caps display face called Homesteader JNL. The point of interest being the rounded characters: C, G, O and Q - usually not as geometric in Old West typography.

Here comes our new font Nutty Noisess Inspired from old skool graffiti tagging, street art, we created this Typeface, drawn in Procreate app, then vectorized and crafted carefully. Nutty Noisess Suitable for many design project, branding, packaging, logo, wall art, headline, template, banner, poster, and many more projects. These include all caps, punctuation, and numerals.

A fun and fresh font that encapsulates both summer and winter with its tall, hand rendered style. A versatile style,the family works well for all kinds or projects from window displays to music albums The Sun and Rain family consists of three weights, light, regular and bold. The weights cover diacritic, Greek and Cyrillic.

Telephone Extended is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A normal width family, Telephone, is also available.

Telephone is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A wide version, Telephone Extended, is also available.

The main idea behind creating Monly typeface was to combine playfulness with a strong letter construction backbone, so all the letters would stand tall and firm, but not to lose the playfulness. Like people, who grow up but try to save their inner child. By doing so and combining all this, the typeface achieves a great readability and appealing look. Monly font suits best for logos, headlines and small text blocks, but can also be used for big text blocks if the style suits the purpose.

A collaboration based on lettering by Vermont illustrator/artist Mary Trafton and brought to typographic life by Charles Gibbons, the Full Moon Suite is a collection of casual typefaces called after folk names for full moons. A winner of the TDC2 2003 Type Design Competition. Family members include: Falling Leaves, Rustling Branches, Black Cherry, Black Cherry Alternate, Black Cherry Ligatures and Black Cherry Doubles.

Pisang Manis means ‘sweet banana’ in Bahasa Indonesia. I don’t think this particular combination is used in everyday life, but it sounds nice. Pisang Manis is based on an older font of mine, called Pisang, which I created in 2013. It looks similar, but it is a different font altogether. Pisang Manis is a ‘Tall & Thin’ display font, ideally used for product packaging, websites and book covers.

A 1910 collection of piano sheet music called “Presser’s Economy Group” had that name hand lettered in a fancy serif lettering style that could fall somewhere between Art Nouveau and semi-calligraphic. No matter the label you attach to the style, it makes for a wonderful digital type revival. The end result is Piano Music JNL, which is available in both regular and oblique versions.

Hawkes is an extensive handmade typeface family that comes with a bundle of weights, widths and styles, all designed to work cohesively. Here is a breakdown of the Hawkes family. Hawkes Sans: The primary subfamily is a sans-serif typeface that includes nine fonts: three weights (light, medium and bold) and three widths (narrow, regular and wide). Within this set are an array of stylistic features; including small capitals, character style alternatives, discretionary ligatures and contextual alternatives. See details below for more information on OpenType Features. Hawkes Variable Width Sans: The secondary subfamily is the same base sans-serif fonts but combined in variating widths. Essentially, it takes all three widths of each weight and randomly mixes them together. This creates a funky and creative alternative to the more traditional sans-serif set. The variations are for the uppercase, lowercase, small capitals, ligatures and numbers. Hawkes Script: The last subfamily is the script typeface. It’s a quirky script with variations of its own, including ligatures, swashes and contextual alternatives (again, see below for further details.) The script font works great as a complimentary style to the sans-serif, or on it’s own. FEATURES Alright, let’s get into all the extra goodies this typeface has to offer. Small Capitals: Small caps are short capital letters designed to blend with lowercase text. These aren’t just capital letters just scaled down but designed to fit with the weight of both the lowercase and capitals. With Hawkes, small caps can either sit on the baseline (in line with the base of the capital and lowercase) or to be lifted to match the height of the capital letters by applying the discretionary ligature setting in the OpenType panel. These small capitals have a dot underlining them that sit along the baseline. The feature offers a unique display affect that is great for logos, titles and other headline needs. Discretionary Ligatures: A discretionary ligature is more decorative and unique combination than a standard ligature and can be applied at the users discretion (as the name indicates.) The specific styling for these ligatures varies for different fonts. With Hawkes, they are used as an all capital styling feature, or to lift the small capitals to align with the height of the capitals. In the former setting, both lowercase and uppercase letters are first changed to all capitals, then a specialized set of letter combinations are transitioned so small characters are positioned within a main capital letter. These combinations only happen with main characters that include an applicable stem, such as C F K L R T Y. Some of these combinations include two or three characters. When Small Caps is turned ‘on’, this feature will lift the small caps to the height of the capital letter. For more information, please check out the user guide! Stylistic Alternatives: Stylistic alternates are a secondary form of a character, often used to enhance the look or style of a font. For Hawkes, these alternatives provide a slightly more handmade feel. A - the capital and small capital A will lose its pointed apex and become rounded. Think of it more as an upside-down U than an up-side-down V ;-) Oo, G, Ss, Cc- these characters’ topmost terminal becomes a loop. The O is applied automatically, the G S and C need to be turn on individually. Titling Alternatives: This feature does sort of the opposite of what it intends. Instead of being used for titling purposes, this feature makes the text look better in paragraph text settings. Kk Rr h n m - curved terminals on the are straightened e - the counter stroke also gets straightened from a more looping motion y - the shape of y is changed from a rounded character to a sharper apex (think more like a ‘v’ than ‘u’) Contextual Alternatives: Contextual alternates are glyphs designed to work within context of other adjacent glyphs. With Hawkes Sans, there are three slightly different variations per character. The feature rotates the application of each variation. This helps with organic authenticity, so if you have two e’s next to each other, they won’t look identical (reflecting the natural variations in handwriting and lettering.) With Hawkes Variable width fonts, I have created a contextual pattern that randomizes the widths of each character. So, when the feature is turned ‘on’ in the OpenType panel, the widths would alternate in a pattern such as: Narrow, Wide, Regular, Narrow, Regular Wide, Narrow, etc. It happens automatically so the user doesn’t have to think or worry about getting a random seed. With Hawkes Script, contextual alternates allow strokes to connect properly from one character to the next while maintaining a believable, natural flow. Connecting strokes are present for two letters next to each other but are replaced by a shorter stroke when located at the end of a word or sentence. Some characters have in-strokes when located at the start of a word. When a character is preceded by a capital letter that doesn’t connect, it too needs an in-stroke or altered spacing. This feature is complicated and messy, but luckily you don’t really have to think about it! I’ve done all the coding so all you have to do is turn ‘on’ the feature in the OpenType panel and you are off to the races! I’m just letting you know what’s happening behind the scenes. Swashes: These are just for Hawkes Script and provide tail swashes to the start and ends of letters. There are three different options. You can pick the basic option by turning ‘on’ the swash feature in the OpenType panel, or you can pick using the Glyph panel. Stylistic Sets: This feature work in new versions of Illustrator CC and InDesign CC. You can pick specific styling sets instead of turning on an entire feature. For example, let’s say you want to have a loopy S, but not a loopy C or O, you can just turn on the S in the Style Set. It also helps create the little drop box that pops up when you hover over a character, showing you the alternates associated with that character. This makes it easy to pick and choose specific styles you want in a word or headline. ---------- And there it is folks! That’s all the basic info on Hawkes, I know it’s been a lot and I appreciate you hanging on. If you are like me and need more of a visual reference to accessing all these goodies, I’ve made a user guide to help navigate Hawkes and everything it has to offer. Altogether this extensive family boasts 14 total fonts in a wide array of styles, weights and widths, making it a great addition to any handmade type collection. Enjoy!

One day, when I was walking with my daughter Greta, I stopped in front of the windowshop of a bookshop, that caught my attention, but Greta was pretty irritated, as always when it comes to books: she is dyslexic. All things written are basically a nightmare for her!So one thing came to my mind: if the great Louis Braille, with visual impairment, invented an instrument that allowed blind people to read, write and play,there had to be a tool that made it easier for dyslexics to do the same things. So, I proposed to Greta to create together a font to help her and other dyslexics. We worked on it, becoming a bit of graphic designers, inventors and guinea pigs at the same time.We brought some initial changes to the mirror letters "pq bd", based on some examples already available on the market, that improved reading times, strenghtening our willing to go ahead. That's how "GretaDS" is born, a completely new font, from the "handwritten" family, which marks a difference on the mirror letters, making them easily recognizable, as well as the lowercase couple rn (RN) which can be confused with the letter "m", not to mention the capital "I" (vowel i) indistinguishable from the lowercase "l" (L)We hope, that other graphic designers will follow its flow, modify and improve the path, and make the most of its energy, to offer dyslexics a tool that make reading as easy as drinking a glass of water.

High atop the mountain of fonts, a new structure has been raised--one solid and strong against the challenges of time. Civane is a victorious conqueror among fonts, standing above the clutter and the mundane. Its firm structure joins effortlessly with graceful calligraphy in a new flowing, inscriptional typeface. Civane is inspired by monuments of great civilizations, whose lofty inscriptions remain chiseled into the very stones and columns of their structures. The font’s medium contrast with its flared stroke ends lead the reader to feel the solemn presence found in these great obelisks and shrines. Even Civane’s thinnest weight holds a quiet power over its audience. Still, its classic lines provide a beautiful flow between the strong letters, allowing the reader’s eye to move easily across the page. Civane supports OpenType features and comes with upright italics, alternates, ligatures, old-fashioned figures, titling and small caps. Preview all these features in the interactive PDF manual. The font family has 48 fonts, with three widths and eight weights. The font family also includes glyphs for 72 languages; over 550 glyphs per font stand ready for you to command throughout your design. Civane is built for advertising and display typesetting as well as title and small text, making it an excellent choice for websites as well as flyers and packaging. Use it for defining your brand or for creating designs that evoke academia, militaria, monuments, automobiles, signs, and so on. Its 48 well-designed fonts are well-equipped to help you leave your mark on history. Production assistance from Lucas Azevedo and ikern.

Cities often have their own voice, a voice that can be read... in each location and each business, voice portraying a cultural fabric with an array of manifestations. Balneario Script is a small tribute to a coastal port and tourist city. Through the Sign Painters, in its golden age, a clear, friendly, practical, and functional way of making itself heard evolved. Far from wanting to be perfect, a typeface seeks to be close, warm, and casual. Inspired by the gestures of the brush, Balneario Script reverts to the use of “Casual Letters” so used by Sign Painters. In this adaptation, we sought to adjust its morphology to optimize its performance in small formats and extend the system to include lower case letters as part of the set. The set of fonts has two script weights in addition to an all caps version. The design emphasizes creating a harmonious morphological criterion. Friendly, rhythmic, and with a firm stroke Balneario Script is unique, ideal for headlines and short texts that need to be gestural but simple and highly functional. This typeface was designed to be used in promotional posters or for relaxed and fun Packagings. Balneario Script goes beyond constructive or functional aspects. It seeks to capture the smell of the sea, the warm summer breeze and the nostalgic feeling of a city that from its daily life, knew how to forge a unique personality. This atmosphere allows it to host millions of tourists year after year, and with them reinforce their spirit each summer.

ITC Astro is the typeface that proves you can get your work done while watching cartoons. “It all started as a series of doodles while I was watching The Jetsons,” recalls Sasa Petricic. “The show's impossibly simplistic vision of the twenty-first century cried out for a font that fit into that world -- a world where everyday objects can carry far more fun and personality than they should.” ITC Astro is the first commercial typeface design from Petricic, whose “day job” is working as a reporter for the Canadian Broadcasting Corporation. Petricic has filed stories from across Canada and around the world for CBC's flagship evening newscast, The National. His reports have also appeared on CNN and BBC Television. Petricic's work as a correspondent and video journalist have taken him to six continents, covering everything from famine and genocide in Africa to the war in Iraq. With such serious matters filling the hours of Petricic's day as a journalist, it's not hard to see why he conceived Astro as a welcome blast of whimsy. “As I began to draw the design,” he says, “I decided that every part of Astro should be a cartoon character unto itself.” Each character has its own baseline shadow (or coaster, or circular antigravity generator, depending on how you look at things). The angular caps dance jauntily, rocking from left to right, while a suite of companion small caps provide backup. The end result is a design quite unlike any other, with surprising charm and versatility. ITC Astro comes in a two-weight family of White and Black.

This monospaced version of Galix was commissioned in 2037 by the space exploration company Earth2, as part of a major overhaul of their branding, which had used, since 2021, a generic sans serif (much like every other company). Many specialists in both design and space exploration suggested that this very rebrand started a chain of events that concluded with the invention of time travel in 2041. Contrary to the perceived notion put forward in popular Science Fiction, time travel is only (as of now) possible in the digital realm. It was considered fitting that included among the first files sent back in time should be the Galix Mono typeface, which was remade in OTF format to ensure that it would work with the technology available in 2019. Earth2, for all their insight, did not foresee that the release of the typeface in September of 2019, would lessen the impact of their rebrand. What kind idiots would rebrand a forward looking company with a font that was, by then, almost 18 years old? The subsequent lacklustre response to the redesign didn’t inspire the tidal wave of R&D funding Earth2 had anticipated, and the company went into administration in the summer of 2039, having never invented the time travel which made the release of Galix Mono in 2019 possible. Experts believe that the files sent back in time, although their very sending made it impossible for them to be sent, remained as “time relics” of the future that might have been.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Sans is a modern sans serif with a geometric touch. Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Sans 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Sans" comes in 5 weights with matching italics plus "Trakya Sans Alt", also 5 weights and italics so a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one easy touch in all graphic programs. Trakya Sans is the perfect font for web use. You can enjoy using it.

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Originally published by OurType, Dan Milne’s Tasman has found a new home at Retype. Milne first conceived Tasman as a typeface for newspapers. This influenced the proportions and look of the face considerably: the goal was to keep the personality as warm and playful as possible without losing the credible tone required to deliver all kinds of news. A sturdy, warm type family that is neither mechanical nor fragile. It borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania). Tasman’s primary purpose is an unbiased presentation of information; it strives for neutrality over elegance. Its characters are sturdy and unambiguous, sporting strong serifs, punctuation, and diacritics, as well as generously sized small caps and hybrid figures. Rationalized letterforms give the face enough robustness to withstand the stress of screen applications and laser printing. The figures’ three-quarter x-height makes them considerably larger than traditional oldstyle numerals, yet they still integrate with the lowercase much better than lining figures do. Although initially intended for newspapers, Tasman’s somewhat corporate, objective appearance also makes it an excellent candidate for digital and print magazines, websites, annual reports, and corporate identities. Tasman is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes small caps, fractions, case-sensitive forms, bullets, arrows, special quotes, and nine sets of numerals. Besides standard Latin, its extensive character set supports Central European, Baltic, and Turkish languages.

Welcome to the world of Luckywish Sans-Serif Handmade Font, a special offering born from hands full of creativity and love. Combining the art of handwriting with the simplicity of a sans-serif, Luckywish font offers a magical script that fulfills all your wishes. Luckywish is a symbol of hope that shines through every stroke found in each character. Crafted with heartfelt dedication, this font showcases the natural beauty of handwriting, bringing warmth and joy to every design composition. Armed with a pen and imagination, Luckywish exudes a unique charm. Its relaxed and delicately intertwined style brings a friendly and inviting ambiance to every formed sentence. When used, this font will infuse happiness and a fresh spirit into every project you undertake. Luckywish is more than just a font; it's a loyal partner to designers, writers, and creators alike. With its sans-serif characteristics, this font is easy to use and suitable for a variety of creative projects, from logo designs to posters, from wedding invitations to company branding. In the palm of your hand, Luckywish offers a perfect balance between boldness and delightful gentleness. Each character is meticulously crafted to provide unparalleled harmony in every usage. It's time to let your hopes and imagination flourish with Luckywish. Let this font bring joy and inspiration into your design world. Get ready to witness your words and messages transform into mesmerizing works of art that capture hearts. Be part of this magical journey with Luckywish. Get the font now and enjoy limitless creativity with an unmatched personal touch.

Pietro Aretino (1492 – 1556) Was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics. The most vigorous and versatile vernacular writer of the 16th century He was a very versatile writer, famous for his Lascivious Sonnets – which caused great scandal at the time – but also for his satirical verses, addressed to all the powerful people in Italy, without forgetting the many plays that he wrote for the theatre. Part of the charm of his letters is that through them you may know the whole of Venetian society from the top to the bottom. The little-known church of San Luca in Venice (in St Mark's district) has been a place of pilgrimage for centuries for people who are decidedly not devout: journalists, writers, free thinkers. In 1556 Pietro Aretino, a unique character of the Italian and Venetian Renaissance period was buried there. Such strong of personality, has contributed to generate the powerful wind of change that emerged from the italian renaissance. We have inspired on that talent searching for a new sight the famous Venetian typefaces. Probably looking for more vigour and contemporary digital style. This typeface is slightly condensed, lighter and has more contrast between the thick and thin letter-strokes, it has concave bracketed serif. Their ascender and descenders strokes are very shorts. Aretino family is completed by four weigh: Regular, SemiBold, Bold and ExtraBold, while Italics has three weighs. These fonts came with a full OpenType features and CE languages.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

Transport New is a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Version 3.0 of Transport New features significant improvements including numerous outline and spacing refinements, and a full complement of Latin Extended-A characters. Also, to align Transport New with the 2015 release of Motorway, the other typeface used for UK road signage, Italic fonts for all three weights have been added. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957 and first published on the Preston bypass in 1958, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy. The Grotesk roots of the glyphs were investigated and cheekily fine-tuned – uncomfortably close terminals of characters such as 5, 6, C, G, and e were shortened, the S and s were given a more upright aspect and their protruding lower terminals tucked in, overly wide glyphs like the number 4 were narrowed, and some claustrophobic counters were slightly opened up. The question mark was redesigned and parentheses given some stroke contrast. The x height was edged fractionally even taller. The Heavy font is actually more of a Bold, and the Light is pretty much a regular weight, but the original nomenclature has been retained for old times’ sake.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Slab is a modern slab serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Slab 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Slab" comes with 5 weights and italics; "Trakya Slab Alt" also comes with 5 weights and matching italics, giving a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one touch, easy to access in all graphic programs. Trakya Slab is the perfect font for web use. Enjoy using it.

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.