Le Petit Cochon is an adorable chubby typeface. It is a cute font that has a great variety of applications with multilingual support. Chubby Font Le Petit Cochon is a lettering font with Greek (of course), Latin characters and diacritics. The font is hand crafted, but still is maintaining it’s legibility and balance so it can be used in packaging or logotypes and branding. Especially if you are looking for a font for Instagram cute quote posts or any other social media content, this typeface is the perfect match for you!

Fortuna has some resemblance with handtexted characters based, loosely, on the classic italic. But, like Ad Hoc, Fortuna is drawn on a monitor in every detail. The name is Latin and means fate, luck. The composer Carl Orff was actual at the time when I worked with Fortuna, because he had been born 100 years earlier. Orff's Carmina Burana were being introduced on the radio when I was wondering what to call my most recent creation. The song cycle begins with a song to Fortuna: a fated choice of name. Fortuna was released in 1995.

Pritchard is the work of British designer Martin Wait, a capital, condensed sans serif font inspired by the geometric styles of the 1920s Soviet Constructivist movement. Despite unusual letterforms, Pritchard remains legible and effective in large display sizes. Two fonts make up the Pritchard family: Pritchard Regular and Pritchard Line Out. Pritchard Regular is a caps-only font, but Pritchard Line -- a bold, open font suitable for a wide variety of headline applications -- does include lowercase letters. A similar font from Linotype is Linotype Reducta. Unlike Pritchard Regular, Linotype Reducta's character set contains lowercase letters."

A biscuit and a cup of coffee, a biscuit and a cup of tee ... both are obvious - but what about a biscuit and a glass of juice? I loved that combination as a kid (and I even crumbled the biscuit in the juice...yuck...I wouldn't do that today!!! Anyway, here you have a legible uppercase font with a nice handmade look. I've added 4 different versions of each letter, which makes the font look really nice and slightly jumpy. I even added two nice swashes to the N and K. Enjoy!

Colatin is handmade signature style font with stunning characters. Ideal for logos, name tags, handwritten quotes, product packaging, merchandise, social media & greeting cards. It contains a full set of lower & uppercase letters, a large range of punctuation, numerals, and multilingual support. The font also contains several ligatures and contextual alternates for lower case characters, accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu. But If you don't have any OpenType specific software, you can still use Collatin as is with its standard lowercase and uppercase letters.

Alejandro Lo Celso’s tribute to Bodoni takes the form of a humorous fat face for display use, in both solid and engraved forms. Four years after Bodoni’s death, Margherita, Giambattista’s widow, published the two volumes of the famous Manuale Tipografico, a significant catalogue even today. Margarita’s curves are extremely sensual, it should be set only at huge sizes. The typeface includes several ligatures both standard and discretionary, and a set of contemporary ornaments to set nice frames and patterns. We hope you enjoy working with this fancy type. See more at PampaType.com.

Soul Skull ist a special Version of my Font „Soul“ (soul ultra black). For a long Time i want to make a Font like this. Before FL6 that was impossible. I know it is a big File Size for a Font with all the Graphics but i need a Font like this for a Halloween Projekt. And so i did it myself. I hope you like it as i do! At this time i will say Thank you for FontLab 6 It is so much better than V5. I love this App :)

Francis is a design previously offered by the Lanston Type Co. in the early 1990s. It is a revival of a 1955 Günther Gerhard Lange design, but with a heavier overall weight. Coming out of retirement, it has been fully reworked and refined with elegant curves and an expanded character set. This font works well at small sizes and larger display sizes for everything from wine labels to personal stationery. This type evokes the elegant sophistcation of the Jazz age and pairs well with a Martini and a fine selection of charcuterie.

Easy Peasy is a cute and playful display font. Relaxed and a little bit quirky, this font is the perfect fit for all of your logos, branding, posters, and crafty DIY projects. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Font Features : • Regular version • Character set A-Z in uppercase and lowercase • Numerals & Punctuation • Accented Characters • Multiple Languages Supported • Format File: OTF Recommended to use in Adobe Illustrator or Adobe Photoshop. If you have questions, just send me a message and I'm glad to help. Best Regards, Supersemar Letter

This typeface was designed for editorial purposes (text sizes), where the letterforms contain short serifs (more economical). This font family contains different weights (from Extra Light until to Extra Bold) to create an simple and sequential typographic hierarchy scale. There are two different weights and options designed specifically for text sizes (Regular and Text). The design is classical but contain some contemporary details, which are not distractive for reading, it's simple and clean at small sizes. This font family include italics, small caps, ligatures, old style and tabular figures.

Golden Grotesque - Designed by Moriztype. The whole family consists of 9 Golden Grotesque Uprights, 9 Golden Grotesque Italic, 19 fonts in all. The font is informal and friendly at first glance and perfect for any display setting, but the straight, upright Golden Grotesque architecture also makes it perfect for longer copies. Due to its large x-height, it even works well in very small sizes. Golden Grotesque - This contemporary type family is ideal for use in retail, cosmetic, food and hospitality applications and advertising. Golden Grotesque is equipped for complex and professional typography.

Vicentina has been created starting from gothic cursive calligraphy, widely used in Italy during XIV century. The ductus of Vicentina has been derived from the documents redacted by Master Domenico Dominici from Vicenza, while most of the inspiration comes from books preserved in the archives of Orvieto Cathedral (Archivi dell'Opera del Duomo di Orvieto). As a result, Vicentina takes form with an elegant, but fast and simplified ductus respect to gothic graphs, rich in ligatures and with over 400 OpenType glyphs, in perfect harmony with the rules of readability of a modern typeface.

Thorowgood was originally released by the Stephenson Blake typefoundry in the UK. The types were first cut by the English typefounder Robert Thorne, predecessor of William Thorowgood, and first shown in his specimen books in the early nineteenth century. The fat face was revived in roman (1953) and italic. The S and the C appear to be smaller than the other capitals. Most serifs are flat and thin horizontals. In the italic the main strokes of h, k, m, n, and r are curved inwards at the foot.

The 'VanderHand' font is a friendly and easy to use handwritten font. It is so loaded with ligatures it could easily pass for actual handwriting. The font was created with a felt-tip brush pen and so there are natural thick and thin parts in the characters. All writing was done upright with tightly fit characters. As a result this font has a unique 'instant logo' quality. But you should really try this out for yourself. O, and the font was written by Jeroen van der Ham. It's his handwriting. That's why it's called VanderHand.

Banret is built using simple geometric shapes. It is mostly the result of my experiments on the other font I made earlier in 2016, called Inventor. Font is inspired by old fonts of the beginning of the 20th century. Capital letters are built with one to four proportions. The font has four weights: normal, and bold, and two alternatives: ribbon, and flag. As far as it is a decorative font, it is not designed for large amounts of text. But it is perfect for creating branding elements, logos, slogans and posters.

Getih West It’s a Halloween font, but there’s no need to fear. It’s not just for Halloween fans; You can use it to create cool designs and logos for everything from snowboarding gear to new products at work. Or, if you’re in a hurry, use it to make a fun invitation for your next party — because everyone loves an invitation that screams “Boo!” Of course with this font your various design projects will be perfect and amazing, get a beautiful title and start using our font for your special project.

The inspiration for this typeface family came from my childhood experiences at West Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Block-style typefaces make excellent sports-themed fonts, and Stadium JNL is no exception-- but this lettering style is also filled with nostalgia for decades past. Modeled from one of the many classic designs found in the Speedball® Lettering Textbook, this style of alphabet was quite popular in signage of the 1920s and 1930s. Stadium JNL fills the bill either way-- a font that is just as much at home on a gridiron or baseball diamond, or as lettering for a garage, warehouse or attention-getting ad copy.

Darjeeling combines British Elegance and Indian Flavor. It is flared like Optima, with a scent of Bodoni. By layering “Regular” and “Ornaments” over each other you will create astounding pieces of colorful typography. Additionally there is “Regnaments” which combines the two other styles. Darjeeling is great as a display font, but also perfectly legible at text sizes. Use the ornaments only to add spice to Your design. Make sure to use applications supporting all these lavish OpenType features like small caps, various sets of figures, fractions and the 102 discretionary ligatures.

Aniuk is an original display type family from Typejockeys designed and optimized for the use in large sizes. With five robust weights—Regular, Medium, Bold, Heavy and Black—it is perfectly suited for editorial, posters or logo design. Aniuk is lively, young, and probably a little crazy. However, there certainly is one thing that it is not: boring. A perfect balance of characteristic curves and edgy details make this a strong but playful typeface. Be passionate, get emotional and express yourself with a variety of five different weights. A solid partner for your creative adventures.

Chemistry is a stylish monoline script with a natural flow and beautiful and elegant characters, you can use this font to design wedding invitations, labels, logos, branding, craft project, quotes, and more. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swash font files: if you have questions about the latest fonts, please provide a short message to us Thank You! MJB Letters

A Sans Serif Family with a few unique relatives Our Bookable Sans Family was inspired by a lettering specimen from “Letters and Lettering” by Carlyle & Oring, but you'll find the inspiration has come a long way, baby. From its original reference of displaying a standard width and weight, to the two words showing a light narrow and a heavy wide, this friendly utilitarian display text face has grown to include three width families, with six weights from light to black each. The outliers of the family are Bookable Mondo: an uber heavyweight wide style exuding all brute power in an all-caps form, and Bookable Noir: a lightweight and narrow style with many unique alternate letterforms and ligatures that spoof film noir titling, but also goes off the rails having fun. Opentype features for the traditional families include: - Full set of Inferiors and Superiors for limitless fractions. - A small collection of f-based Ligatures. - Tabular & Proportional figure sets. - Ordinals. - Approx. 419 characters. Opentype features for Bookable Mondo include: - Full set of Inferiors and Superiors for limitless fractions. - Ordinals. - Approx. 391 characters. Opentype features for Bookable Noir include: - Full set of Inferiors and Superiors for limitless fractions. - Five Stylistic Alternate Sets. - Sixty-six unique ligatures. - Ordinals. - Approx. 701 characters.

LiebeDoni is pure Italian art. A contemporary nod to Italian typographic heritage, LiebeDoni’s warm and friendly style is perfect for—literally—bold headlines and impressive invitations. Take a seat on LiebeDoni’s Vespa and enjoy the sweet curves of dolce far niente. But don’t let the relaxed hand-crafted appearance fool you: You’re dealing with a solid quality typeface that has received painstaking attention to detail. Round like the Colosseum, some lines are as colloquial as the Tower of Pisa—but all this with almost Teutonic obsession for technical perfection. Feature-wise, we went the full quattro stagioni: Variations and alternatives for many letters, swashy initials and swirly ligatures—plus language support that goes way beyond English and Italiano. Double-o ligature, anyone? Two different www ligatures? Check. (Please make sure your software supports OpenType if you wish to use the advanced features.) Get both the outline and the filled version and go crazy on creative layering and endless possibilities. Each font contains over 600 glyphs and both contain the full character set. Make a bold move to italy—treat yourself with this font. If you like LiebeDoni, you may also like its perfectly matching sisters LiebeErika and LiebeOrnaments—or any of our other 100% compatible LiebeFonts.

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 methodical and engineered design. FF DIN Slab is a robust compliment to the FF DIN family. Designed by Antonia Cornelius and Albert-Jan Pool, it offer designers tools to create greater rhythm and design depth. FF DIN Slab’s proportions have been meticulously aligned with its Sans origins, offering the perfect balance between positive and negative space. The serifs are assertive, sturdy and balanced, they are engineered to emphasis a strong horizontal flow through text, a grounded utility and assurance in headlines. The result of this attention to detail is a typeface that harmonizes beautifully with other FF DIN styles. Pushing font technology to its limits, FF DIN Slab is also available as a Variable font. Allowing creatives to design hyper specific variations which thrive in any design space, and even seamlessly animate movement from one state to the next. FF DIN Slab distinctively carries on its parent’s DNA, speaks the same native language — but with a strong peculiar dialect. It expands the DIN family worthily — independent but integrated — and opens totally new possibilities of uses with the whole DIN family.

Rational TW is the typewriter addition to the Rational family. It is a monospaced font building on the same principles as its proportional, neogrotesque brother, such as maximum legibility and flexibility while combining Swiss and American gothic elements with a modern aesthetic. Due to the monospaced environment, some of its letter shapes like “r”, “m”,“f”, “i” and “w” have been slightly adapted but kept the same in appearance. Rational TW comes in two version: Rational TW Display and Rational TW Text. As indicated by its name, Rational TW Text is not limited to, but works best in small font sizes because it features distinctive letter shapes like a double storey “a” or “g” in order to help differentiate similar glyphs in small sizes. Rational TW Display, on the other hand, creates a geometric uniformity by implementing round shapes in “a” and “g”, giving it a subtle friendly and open character. Unlike many other monospaced fonts, Rational TW has a large amount of opentype features like small caps, alternative glyphs, case sensitive shapes, and many more making it the perfect choice for countless scenarios. With more than 700 glpyhs per font, it performs excellently in any project from print to digital.

“LAPOYA” (meaning in english “the coolest”) is a large slab serif typeface family, with a certain Italian inverted contrast touch. Specially designed for advertising big shows and commerces, Lapoya has 36 variables and four axes, including a text and decorative versions, where the drawing and width of its counterforms vary. It also has icons that remember the old aesthetics of wood types from the early 20th century, and more than 400 characters with a multitude of signs and ligatures, that make Lapoya ideal for up to 89 languages. It is clearly inspired by the large wood types designed for posters, advertisements and newspapers. Since they were introduced in the 19th century, slab serifs have become extremely popular. In fact, serifs are often enlarged, not so much to look like beautiful or balanced letters, but to be more graphic and visual powerful than others. Furthermore, in the case of this typeface, this idea has been applied not only to capital letters, but also to the lowercase, numbers and signs of all kinds. “That’s why this typeface is LAPOYA!” Designed by Carlos Campos in 2023. cuchi@cuchiquetipo.com OPENTYPE FONT 426 GLYPHS 388 CHARACTERS 4 AXES 36 INSTANCES 9 LAYOUT FEATURES 89 LANGUAGES

Momoiro is a feminine typeface family, designed for editorial use. "The first case in which appeared a fashion content in a magazine was in 1672 in the magazine Le Mercure Galant, which was a magazine of entertainment and varied content, including fashion. But the first illustrated and specialized magazine was Le Journal Des Dammes Et Des Modes, created in 1797. "(Fashion Trends, 2011). On the basis of this historical period, the creation of typography has characteristics of a Baroque type. "In this category we mainly include the types created in the Netherlands during the seventeenth century and whose protagonists are the punch makers Reinhard Voskens and Christoffel Van Dijck. Baroque typography stands out for its accentuated play of irregular axes and contrasts that permeate the text of great vividness. " Therefore it has contrast in the thick and thin strokes, Roman serifs, humanistic axis. With this typography, we are not looking for a re-reading of the baroque, but rather a current typeface with humanistic characteristics of the handwriting, with a brush as a differential. Momoiro comes in two weights plus italics to cover as much design needs as possible. It compliments from OpenType features such as ligatures, swashes, true fractions, old style numerals and stylistic sets.

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms. Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety. Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects. Designed by Kiril Zlatkov and Vassil Kateliev.

The Handasi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Handasi employs variable x-height values. Its design uses straight lines only but with variable distributed weight. Handasi fonts include all required Lam-Alif ligatures and use ligature substitutions and selected marks positioning but they do not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Handasi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Broken letters or Gothic letters, also known as German letters, are the typeface used in Europe West from the 12th century to the 17th century. Meanwhile, Danish spoke it until 1875 and German, Estonian and Latvian spoke it well into the 20th century. Fracture is one of the broken typefaces that is often considered to represent the entire broken typeface. Broken letters are sometimes also called Old English, but not in the Old English or Anglo-Saxon sense that was born centuries earlier. This group of letters is so named because it contains Latin letters that have breaks in the curvature of the letters, either in part or in whole designs. The fracture arises from a sudden dip when writing certain parts of the letter. In contrast, letters with perfect, unbroken curves, such as Antikua, are created from smooth, flowing writing movements. Callimathy is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Callimathy font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts.

Mexica is a typographic tribute to Nahuatl, the tongue of the Aztecs, but also the lingua franca of ancient Mexico. ‘Mexica’ is not only the feminized, latinized form of the word ‘Mexico’, but also the name of the inhabitants of this place: the Me-xic-cah. Nahuatl, when composed in the Latin alphabet, abounds in diagonal letter shapes: XYZ are ubiquitous in its classic orthography, just as KW are in its modern one. This visual feature is further enhanced by the absence of some rounded letters such as BDG that depict inexistent sounds in this millenarian tongue. Besides, Nahuatl is language with a tendency to form very long words that give the text quite a distinct appearance, unlike English, for instance, with its abundance of short words. Mexica was designed to look well in all these contexts, and to perform as well as a contemporary, daring, stylish serif type family, with several weights for text and display composition. Further, its terminals and general structure —devoid almost completely of straight lines—are inspired by the angled architecture and ornamentation of the ancient city of Mexico- Tenochtitlan. Mexica received an Award of Excellence at the Type Directors Club of New York annual competition.

Settikef is a handwritten script font with cute and cute nuances but still beautiful and elegant. This font is great for you to use as a title in your designs as well as great for writing names and words. and to be sure this font is not only limited to that purpose but also very special for every need of your project, be it a formal or non-formal project, this font is still beautiful and elegant. start creating awesome designs with this font! This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

Art deco The inspiration for FS Blake’s elegant, lightly geometric forms can be traced back to design of the 1930s; designer Emanuela Conidi was influenced by the typography of cool, European, art deco posters. FS Blake bears traits of the art deco style, from its thin weights to its heavy weights, giving a set of faces each with their own distinct character, but still with a strong family resemblance. Mechanical type Mechanical and organic shapes combine in FS Blake to create a harmonious whole of generous curves and cursive spikes. A strong, punchy contender in display sizes, it’s also got a gentle touch with small text in lighter weights. Lively, versatile and with plenty of character contrast between weights, the FS Blake family offers impact in whatever task it’s given.faces each with their own distinct character, but still with a strong family resemblance. Sketch book Great fonts still emerge from a combination of hand, paper and pencil. After filling her sketch book with ideas, Emanuela and Jason extracted the elements that both felt could work in a font. The process yielded a whole crop of starting points for future designs as well as a focus for FS Blake as a striking, characterful, almost industrial font.

Megumi was originally commissioned as a headline face for a fashion and lifestyle magazine with a heavy Japanese influence. The uppercase letters are narrow and have an almost monospaced aesthetic, being influenced by Romaji letterforms. Serifs are severe, and curves sinuous. Although experiments were made with extra weight, it was decided that only this ultra light weight would be developed, to be set large in headlines. The italic has an over-the-top 35° slant (so slanted in fact that the backslash from the italic is the exact same shape as the forward slash in the Roman) and a discretionary ligature feature that can be engaged to add extra interest to headlines. The Roman has a few wide alternate glyphs for round uppercase characters. Both styles have a stylistic set (ss03) feature which switches regular parentheses for angle brackets, which the Art Director thought “looked cool”. In a mess of venture capitalist pull-outs and Covid related issues, the publication never came to be, but the Hipster Japanophile Magazine World’s loss is your gain, as this beautifully crafted, editorial oddity is now available to license. Use it editorially, obviously, but it would also look great on posters, perfumes, postmodern publications, and perhaps some other things that don’t begin with p.

Fazeta Sans is a perfect companion to serif typeface Fazeta. Two light weights were added, so the complete typeface consist of 14 fonts (7 weights + matching italics). The fine gradation lets you choose perfect weight for any type of project. Every font have 1140 glyphs – just like the serif version and contains the same features, so use and combining of whole typeface is very comfortable. Also fixed kerning allows better comfort for eyes by reading and shortens the length of the text. I tried to preserve sharp and cold impression from serif version, but some straight lines had to be curved due to the natural limitation of sans typefaces (for example the upper arch of “f” is shaped more smooth). However it keeps extremely open form. A little playfulness was left at the end of letters “k, K, and R”, but if you want, this can be eliminated by using a rigorous SS01 feature. Serifs were here transformed into a small yaw from main stroke and so enlive the monotony of sans kind of types. Also slight cutting the top of the letters helping to surprisingly vivid final impression. Fazeta Sans is therefore suitable for wide range of type sizes – from small marginalies to huge poster sizes. To see more please check the PDF specimen.

Placing pictograms as single vector images makes designing signage a time-consuming task. But with Wayfinding Sans Symbols and its built-in OpenType intelligence using pictograms becomes as easy as typing words. With Wayfinding Sans Symbols you don’t need to scroll through endless glyph palettes to look for one symbol among hundreds of symbols. Just active ligatures and type in the mnemonic codes like #wheelchair, #parking, #toilet and so on. An overview of these codes can be found in the type specimen PDF. Each pictogram is available in 4 different versions and you can easily assign an additional background color or turn the symbol into a prohibition sign. Wayfinding Sans Symbols has a full coverage of the Unicode range “Transport & Map symbols” and a lot of additional signs that are missing in the typical wayfinding symbol sets. Beside the pictograms, Wayfinding Sans Symbols also has a huge set of arrows for every possible situation and you can easily switch between the different sets using OpenType feature controls. The enclosed letters and figures make it easy to set transport line numbers, room & storey numbers and much more. Wayfinding Sans Symbols is the perfect addition to Ralf Herrmann’s signage typeface Wayfinding Sans Pro, but it can also be used with any other typeface.

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 methodical and engineered design. FF DIN Slab is a robust compliment to the FF DIN family. Designed by Antonia Cornelius and Albert-Jan Pool, it offer designers tools to create greater rhythm and design depth. FF DIN Slab’s proportions have been meticulously aligned with its Sans origins, offering the perfect balance between positive and negative space. The serifs are assertive, sturdy and balanced, they are engineered to emphasis a strong horizontal flow through text, a grounded utility and assurance in headlines. The result of this attention to detail is a typeface that harmonizes beautifully with other FF DIN styles. Pushing font technology to its limits, FF DIN Slab is also available as a Variable font. Allowing creatives to design hyper specific variations which thrive in any design space, and even seamlessly animate movement from one state to the next. FF DIN Slab distinctively carries on its parent’s DNA, speaks the same native language — but with a strong peculiar dialect. It expands the DIN family worthily — independent but integrated — and opens totally new possibilities of uses with the whole DIN family.

Berryfield started as an experiment: making a font entirely out of geometric shapes. It started with a couple of circles and a couple of rectangles, and was constructed entirely from those parts, and parts made from those parts! For the uppercase, I took style inspiration from the heavy serif classics. But when it came time to create the lowercase set, I took a sharp turn and looked to fun unicase fonts, creating uppercase-height lowercase letters, in addition to uppercase alternates. When I finished Berryfield Regular, I liked it so much I made a lighter version (almost like a typewriter font), and a heavier version, to give you even more variety! Each font in the family contains over 520 characters, including over 300 extended Latin characters for language support. There are also a number of alternate letters to choose from, as well as superscript ordinals (ST, ND, RD, and TH), all of which are PUA-encoded for easy access no matter what design program you're using. Berryfield was a ton of fun to make, and I hope you have a ton of fun using it! It's smooth and easy for both print and crafting; the uppercase alone is straightforward enough for a magazine headline, but combining in the lowercase makes it quirky and fun.

Antoge is a handwritten script font with a pretty and cute feel but is still beautiful and elegant to use. This font has its own charm for you to use as a title, write names, words and sentences which of course look good and charming, and certainly this font is not only limited to that purpose but is also very special for every need of your project, be it a project. formal and non-formal, this font is still beautiful and elegant. Start creating incredible designs with this font! This captivating font also offers harmoniously beautiful abstract typography for a wide variety of design projects, including digital natural handwriting for designs, design quotes, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature. , and all designs require handwriting or whatever design you want. What's Included: Font file Standard glyph Binder Works on PC & Mac Simple installation It can be accessed in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even works in Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Albanian, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish

Between geometry & shapes inspired by nature, in 4 fonts Audace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context. Audace — like the works of those artists, designers, architects — is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. This is a consequence of the influence of forms from design and art in the design of the Audace. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions. Audace, between geometry and shapes inspired by nature