German type designer Hans Reichel created this sans FontFont between 1995 and 2000. The family has 36 weights, ranging from Light to Black in Condensed, Normal, and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. In 1998, FF Dax received the The Big Crit award. This FontFont is a member of the FF Dax super family, which also includes FF Dax Compact and FF Daxline.

Alfons is a handy collection of 38 display fonts with a pack of Ornaments and Extras on top of that. Alfons is great for any kind of display use from online to packaging to posters or identities. Alfons is divided into eight subfamilies that play great together. Alfons’ core family is a monoline script that has eight weights from extra thin to black and on top of that two printed versions that have softer, a bit blurred features. Alfons Script is equipped with Standard Ligatures which makes the flow more natural. For more swirling swashes and bouncy flow try Swash, Stylistic or Titling Alternates in any OpenType savvy program or manually select from even more alternate characters from Glyph Palette. Alfons Display, Sans, Condensed, Serif and Slab are equipped with Swash alternates and Alfons Tiki has interlocking ligatures feature that you can access from Discretionary Ligatures. Alfons Extras is a pack of pictograms and icons and some catchwords. Alfons Ornaments is designed to work with Script.

Direct mail designers rejoice! Finally, a font family made just for you. Created to be as in-your-face as possible: for use as a primary headline; for dates and phone numbers; and for coupon heads and price points. Tired of kerning numbers for your coupons and prices? Then you'll love this font! All of the kerning has been done for you. (No more spacey 1's!) Designed for a tight kern - just track it in on larger sizes. Instead of standard weights, this font was designed to fit different width needs. Have a long headline, but your client wants it in one line and tall? Use the extra-condensed. Need something really bold for a phone number or price point, but you don't have much height available? Use the fat. And there are two more widths for those in-betweens. And to top it off - you can get them all in an oblique as well.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps. Both the name and design got inspiration from mountain peaks. "Cumbre" in Spanish means summit, and that's the motive for the spiked design and the angular serrated structure. Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is slanted and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps. Cumbre is meant for large display settings to make the most out of the precise outlines and the clean intersections. The font styles: 'Sharp' has straight paths and precise intersections. 'Round' has the same outlines but with round corners. 'Stamp' has irregular wavy contours and heavy swelling at intersections.

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Front Desk is designed to be easily readable, its increased legibility coming from the slightly enlarged lower case letters (a greater x-height) which make it easy on the eye. Also it is slightly slanted (but a lot less than a normal italic angle) to give it a more informal and modern look than a perfectly upright font would be, which is also intended to contribute extra dynamism while reading. Five available weights give adequate variation, and there are some Condensed and Expanded varieties in the complete set. A primary feature of this font is that the serif bases and tops are not indented or concave, which gives clear straight edges to the serifs, and the removal of this complexity adds to the clean lines and crispness of the font. The package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

World Madly - Display Font is a delightful and quirky typeface designed with an environmental theme in mind. This font exudes a sense of fun and playfulness with its rounded and condensed letterforms, making it a perfect choice for projects related to nature and the Earth. Featuring a remarkable array of ten alternative font versions, each inspired by elements of the Earth and plant life such as tree trunks, leaves, globes, roots, and trees, World Madly is purposefully created for Earth Day-themed designs. It seamlessly integrates into projects with themes centered around nature, green initiatives, and the Earth. This font is an ideal choice for creating designs like Earth Day-themed invitations, birthday invites, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more. With its crafty and playful style, World Madly lets you express your love for the planet and the environment in your creative projects, adding a touch of eco-consciousness.

Tosia is a modern, geometric, clean, elegant and versatile font family designed with neutrality, beautiful proportion and excellent legibility in mind. This professional, contemporary sans serif has slightly condensed dimensions, which make it a great typeface for situations, where space saving is needed. Tosia’s broad variety of weights makes it suitable for headlines of all sizes, as well as for long and short paragraphs of text. It is excellent for on-screen use, for web applications, user interfaces, as well as for all kind of print purposes, like branding, packaging and editorial design. Tosia consists of 20 fonts - 10 weights and their corresponding italics. It has extended language support including cyrillic and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic alternates, contextual alternates, lining, oldstyle, tabular, small cap and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Built tall and strong, the Goodland font family is ready to do the heavy lifting in your next design project! Inspired by painted signs on industrial buildings in the town of Goleta, California, Goodland combines a mid-20th century aesthetic with modern features. Three widths: Normal, Condensed and Compressed Eight weights from ExtraLight to UltraBold Matching italics for all 584 glyphs support 223 languages, including Vietnamese & Cyrillics Two sets of Stylistic Alternates Variable font to select any amount of width, weight or slant The Goodland font family is a versatile branding solution. Extreme Light and Bold weights stand out in headlines and display type, while the mid-range Regular and Medium make for easily readable body text on light or dark backgrounds. Dial in the exact look you need with Stylistic Alternates and Variable Font features. Explore the many features of the Goodland font with wonderful things that have come out of the Goodland!

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

ITC Abaton, by Argentinian designer Luis Siquot, is an exercise in geometry and simplification. “It is done,” says Siquot, “with few elements, with modules of only straight lines (horizontals, verticals and diagonals of almost 45 degrees). Drawing the I and the O, I got the basic elements, and so started the fight between strict geometry and optical impression, until I obtained the rest of the characters.” The basic rectangular form is characterized by wedge-shaped serifs, almost like caps on the heads and feet of the letters. “Abaton has the 'spirit' of 19th-century faces used on money bills or postage stamps, but the realization is totally different,” Siquot explains. Abaton is a “shaded” typeface of caps and slightly smaller caps, upright and slightly condensed in form. Although the letterforms are legible at small sizes, the shading tends to clog up if it gets too small, so Abaton is happiest as a distinctive display face.

Novel Display is the humanist sans serif typeface family for headlines and display sizes and the latest addition to the largely extended, award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. All typeface families of the Novel Collection have a carefully attuned character design and a well balanced weight contrast. The fine gradation of 10 weights in combination with 4 widths enable designers to create fine display typography and combine the design with other members of the Novel Collection to reach highest quality in typography. Novel Display [788 glyphs] comes in 50 styles and contains an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Gord’s unique blend of typefaces creates a mesmerizing and trippy effect that will transport you straight back to the era of disco balls, bell-bottoms, and groovy tunes. This typeface is like no other—it’s a puree of samples that will make your design stand out from the crowd. Gord’s ugly design is so bad, it’s good! Its quirky, uneven shapes and mismatched curves give your text a distinctive retro look that’s perfect for any project that needs a touch of 70s nostalgia. So if you’re ready to embrace the beauty of ugly and want to add some vintage flair to your design, Gord is the typeface for you. Get ready to unleash your inner boogie and take a trip back to the era of peace, love, and funk with Gord! 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.

Lush was a formal script until it had a few too many drinks and, as a result, loosened up a little bit. Harkening back to the handlettering of the 40s and 50s, Lush has evolved into a casual, but well-dressed script that maintains a rather aggressive rhythm. Transitions often whip back quickly, forcing the letters to reel from the movement and resolve efficiently. It is not as warm as some scripts, intentionally so, so as to distinguish it from its predecessors. Type and lettering fans will revel in the options afforded to each character—in some cases there are up to 15 different variations with multiple glyph recipes available to produce the most unique and fluid lettering combinations possible. An often overlooked segment of contemporary script fonts, the uppercase letters have at least 3 options to work with that mesh well with the 36 ornamental flourishes to add even further embellishment. In total, there are over 1,650 glyphs in the typeface that includes these OpenType options: Stylistic Alternates, Contextual Alternates, Swashes, Titling, Historical Forms, Initial Forms, Oldstyle Numerals and 3 additional Stylistic Sets. With this release, I have tried to provide as much flexibility and 'forgiveness' within the typeface so the lettering enthusiast can have fun and explore thousands of iterations… and it's pretty easy math to figure this out: with over 970 alternates and 270 ligatures, I intended this typeface to be one that keeps on giving. One important fact to note… this marks the first release of a smooth, non-brushed, non-textured script from me—but it won't be the last. That said, I will have to admit that the brush has influenced many of the characters and their construction. Enjoy :)

Here is my next Celtic Monograms font family. I used a lot of authentic knots and curves to imitate Insular art style. The term derives from insula, the Latin term for “island” in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. I've drawn sketches set, manually vectorized it and assemble the font family. In an attempt to replicate the intricate patterns found in Celtic art, I endeavored to create a design that embodied the essence of true Celtic knot work. The interweaving lines, which were prominent motifs in Celtic art prior to the arrival of Christian influence around 450, served as the foundation for my creation. Over time, these designs seamlessly integrated into early Christian manuscripts and artwork, incorporating depictions of various elements from everyday life, including animals, plants, and even human figures. In the beginning, the patterns were intricate interwoven cords, called plaits. This particular style is often linked to the Celtic regions, but it was also widely embraced in England and spread throughout Europe through the efforts of Irish and Northumbrian monks. The utilization of the Celtic knot as a tattoo design gained popularity during the 1970s and 1980s in the United States. Consequently, it has proven to be a highly advantageous font choice for various applications such as posters, banners, and sportswear. You can also create a vintage color shift effect. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Two or Three lines style initial on the top of Back style. I’m happy to present you the Rough, Two lines, Three lines, and Back styles for your design. You’ll get uppercase and numbers set. Thank you!

Introducing Galeiya – Cute Script Font Adorable Playfulness Step into the enchanting world of Galeiya – Cute Script Font, where adorable playfulness takes center stage. This font is the embodiment of girly charm and fun. Joyful Whimsy Galeiya’s joyful whimsy adds a delightful and whimsical touch to your projects, making it the perfect choice for a wide range of creative endeavors. Versatile Delight Beyond its cute appearance, this font is exceptionally versatile. It effortlessly adapts to various design contexts, from invitations to branding, infusing each project with a joyful spirit. Expressive Typography Galeiya is more than just cute; it’s incredibly expressive. Its lovely script style injects character and a sense of fun into your content, ensuring it leaves a memorable impression. In Conclusion In summary, Galeiya – Cute Script Font is the font that seamlessly combines girly charm with a sense of playfulness. Its versatility and expressive nature ensure your content is not only cute but also highly engaging. Whether it’s invitations, branding, or an array of creative projects, Galeiya brings a unique, expressive touch that appeals to a broad audience, leaving behind a lasting and delightful impression.

Introducing Midelyne – Lovely Script Adorable Elegance Step into the enchanting world of Midelyne – Lovely Script, where adorable elegance reigns supreme. This font is the epitome of cute and girly, perfect for adding a touch of charm to your designs. Playful Charm Midelyne’s playful charm sets the stage for a delightful and whimsical journey. It’s an excellent choice for a myriad of creative endeavors, infusing each project with a joyful spirit. Versatile Usage Beyond its cute facade, this font is incredibly versatile. It effortlessly adapts to various design contexts, from invitations to branding, enhancing the visual appeal of every project. Expressive Typography Midelyne doesn’t just stop at being cute; it’s also wonderfully expressive. Its lovely script style adds character and warmth to your content, leaving an unforgettable impression. In Conclusion In a nutshell, Midelyne – Lovely Script is the font that seamlessly marries girly charm with understated elegance. Its playful yet versatile nature ensures your content is not only cute but also highly engaging. Whether it’s invitations, branding, or a diverse array of creative projects, Midelyne infuses them with a unique, expressive touch that appeals to a wide audience, leaving behind a lasting and lovely impression.

Introducing Cladey – Display Typeface A Striking Serif Display Cladey is a remarkable Display Typeface with a unique twist that sets it apart. Its central serif feature is the key to its stunning appearance. Captivating in Display Cladey is not just visually stunning; it’s also perfectly tailored for attention-grabbing displays. Its distinctive serif at the center adds an extra layer of elegance that captivates the eye. Versatile for Various Designs Going beyond its captivating display prowess, Cladey also boasts versatility. It seamlessly harmonizes with a wide range of creative projects, making it a font of choice for designers seeking flexibility. A Display Typeface with Impact Cladey ensures that your content exudes an aura of elegance and leaves a significant impact on your audience. It commands attention and resonates with viewers, ensuring a memorable experience. In Conclusion In summary, Cladey – Display Typeface is a font that truly stands out in the world of display typography. Its unique central serif feature adds stunning elegance to your projects. Whether it’s for branding, posters, or various creative endeavors, Cladey’s versatile and impactful design caters to a broad readership, ensuring your content leaves a lasting and striking impression.

Trithemius, a 15th century Abbott, and influential counselor to Emperor Maximilian I, was also an author who wrote both histories and the first printed work on cryptography which gained him much adverse notoriety. He has been long regarded as a mystic and some of his works were therefore banned. However, it may have been his intention to cloak his cryptology essays in mystical writing to keep people from easily grasping the subject matter, which it has been recently demonstrated, at heart was really cryptological methodology. This font is based on a printed version of the Polygraphiae a text that included many methods of encryption.

Equines Display is a versatile font family designed specifically for display purposes. Its modern, thick and strong appearance is perfect for branding, logos, banners and any lettering that requires bold and clear letters. To add an artistic image rather than just the thickness of the shape, Equines Display adds a rounding feature to the corners of the letters with a cross system, which makes the word display dynamic, strong and elegant. Until this description was published, Equines Display had 14 styles including condesed, expanded, outline and shaded in hopes of meeting the display font needs of designers and everyone at large. Enjoy working with the Equines Display font family. Best regards, Saefulloh - Attractype Foundry.

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper). My task was to design a modification of the existing Times. The work, however, finally resulted in the complete re-drawing of the typeface. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The typeface itself definitely profited from this; I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison. When I was designing Lido, the cooperation with the head of production of Lidové noviny was of great use to me. Many tests were carried out directly on the newspaper rotary press during which numerous weak points of the earliest versions were revealed. The printing tests have proved that the basic design of this typeface is even more legible and economical than that of Times. The final appearance of Lido STF was, however, tuned up without regard to the original assignment – the merrier-looking italics and the more daring modelling of bold lower case letters have been retained. The typeface is suitable for all periodicals wishing to abandon inconspicuously the hideous system typefaces with their even more hideous accents and to change over to the contemporary level of graphic design. It is also most convenient for everyday work in text editors and office applications. It has a fairly large x-height of lower case letters, shortened serifs and simplified endings of rounded strokes. This is typical of the typefaces designed for use in small sizes. Our typeface, however, can sustain enlargement even to the size appropriate for a poster, an information table or a billboard, as it is not trite and at the same time is moderate in expression. Its three supplementary condensed designs correspond to approximately 80% compression and have been, of course, drawn quite separately. The intention to create condensed italics was abandoned; in the case of serif typefaces they always seem to be slightly strained. I named the typeface dutifully "Lido" (after the name of the newspaper) and included it in the retail catalog of my type foundry. In order to prevent being suspected of additionally turning a rejected work into cash, Lido STF in six designs is available free of charge. I should not like it if the issuing of this typeface were understood as an “act out of spite” aimed against the venerable Times. It is rather meant as a reminder that there really are now alternatives to all fonts in all price categories.

Bellarosa is a refined and delicate handwritten font. This lovely script font has a wide spectrum of applications ranging from greeting cards to headlines and is guaranteed to add a romantic feel to your next project. It will turn any design project into a true stand-out. Add it to your most creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs, swashes, and ligatures.

Kau is a quirky, sans serif display font in two weights. Its funky, stencilled outline bursts onto the page with in-your-face energy, just demanding to be noticed. Kau Black is big and bold, specially crafted for posters, headlines, ads and logotypes. Kau Light forms a perfect foil - clear, skinny and edgy. Use the two together, in a contrasting explosion of form, to create exciting contrasts and vibrant designs The font has all the features of a fully professional typeface. Language support includes all European character sets.

Le Vangeline - is a romantic calligraphy font, with classic root and elegant touch. It is perfect for any projects such as : logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, name card, invitation cards, greeting cards, label, photography, watermark, special events, and all your other lovely projects that need a beautiful script taste. Add it to your most creative ideas and notice how it makes them come alive! Features : · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded

When my Taiji teacher gave all of his students a handwritten card with their name on I noticed that he had an unusual and beautiful handwriting. I persuaded him to write out each of the standard glyphs for me in return for me doing some repairs to his trousers! Earth Encounters Family is the result. The regular font and the light version include OpenType coding to offer the option of different versions of the same letter in words, giving the effect of real handwriting. Earth Encounters also comes with a Shadow style.

Destructive Decisions is a font based upon the inherent flaws of human nature—presented under the guise of complete legibility. At first impression this font is very readable, but upon closer examination you'll notice the edges are fuzzy and some of the lines are off-kilter. You can read it, but it is also a bit foggy. No matter how hard it strives for perfection. This font was originally designed for a cable tv show about substance abuse, but is now available for use in your web and print designs, too.

The PIXymbols™Mejicana fonts are designed to create both single color, and two-color titles. The fonts are designed for use in creating menus for Mexican restaurants, notices of festive occasions with a Mexican theme, promotion of Mexican folk crafts, and of travel to Mexico. Each font package includes both TrueType and PostScript versions, and is available in either PC/Win or Macintosh format. In order to avoid serious problems, be sure not to install the same fonts in both TrueType and PostScript on the same computer.

Num.91 is a strong and elegant street art display typography. Inspired by currently popular street art, this is the answer to the long-awaited need for a street art font. Num.91 is superior and very different from the street art fonts currently circulating. This font really has the soul of street art in it. And another amazing thing, you get bonus vector illustrations in it. Its weight is superior in posters, social media, headlines, titles, large-format print - and anywhere else you want to get noticed.