Jantar Flow is a humanist sanserif type family tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Flow Italic is distinct and readable. Following a proper italic construction, it shows the fun side of the family yet keeps the features of the upright. Jantar Flow – as well as its teammate Jantar Sharp – comes in seven weights from ExtraLight to Heavy, each with accompanying italics. It has a tabular and proportional set of figures in both old style and lining options, and also a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European languages as well as a set of case-sensitive characters. Jantar, the pairing superfamily. ‘Jantar’ is an old Polish name for ‘amber’, a fossilised resin – a substance that is robust and organic at the same time. These qualities somehow reflect the feeling behind the Jantar families, ‘Flow’ and ‘Sharp’. Jantar Flow was designed along with Jantar Sharp. As part of the Jantar superfamily these two faces are perfectly paired: though not based on the same skeleton, they share the same design parameters and the same character set, but each one works independently with its peculiar features. Designed for publishing for print and web, as well as for branding, the Jantar superfamily was inspired by common font pairings of the digital age like Helvetica/Times or Verdana/Georgia. Jantar Flow and Jantar Sharp communicate with individual yet complementing voices, just like two trained acrobats can perform alone but also know well how to perform together.

💥Introducing "Electrone" – Unleash the Power of Typography with a Superhero Flair! Unleash the electrifying energy of "Electrone," a dynamic font that embodies the essence of superheroes with lightning speed, unmatched strength, and a dash of style. This font is not just a typeface; it's a superpower for your design projects! Key Features: Electrifying Glyphs: With 890 meticulously crafted glyphs, "Electrone" offers a vast array of characters that will add a powerful punch to your designs. Every glyph is a superhero in its own right. Sided Ligature: Seamlessly blend characters with our specially designed sided ligatures, creating a visual impact that resonates with strength and unity. Alternate Characters: Customize your text with alternate characters to give your designs a unique and personalized touch. The alternates are carefully curated to ensure versatility without compromising the superhero aesthetic. Lightning Swash: Add a bolt of energy to your typography with lightning swashes that strike through your text. Watch your words come to life with the electrifying force of "Electrone." Wings of Typography: Elevate your designs to new heights with the winged elements included in "Electrone." These wings symbolize the freedom and power associated with superheroes, making your text soar above the ordinary. Suit Up Your Designs: "Electrone" is not just a font; it's a complete superhero costume for your words. Whether you're working on comic book titles, posters, logos, or any design that demands a bold statement, "Electrone" is here to save the day. Perfect for: Comic Books and Graphic Novels Superhero Movie Posters Action-packed Logos Gaming Graphics Apparel Design and more! Embrace the electrifying power of "Electrone" and turn your designs into epic adventures. Download now and witness the transformation of ordinary into extraordinary!

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

In the world of typography, there’s always a desire for something new and innovative that can make your design stand out. If you’re looking for a typeface that is as unique as it is bold, look no further than Ulian. Ulian is a striking display typeface that fuses the best of two worlds: the flat sides of traditional blackletter and the contemporary shapes of modern letterforms. The result is a typeface with a refreshing twist that is sure to capture the attention of your audience. One of the most striking features of Ulian is its distinctive flat sides. These straight lines give the typeface a bold and confident feel, perfect for grabbing attention and making a statement. But Ulian doesn’t stop there; it also features elements of modern typefaces, including curved serifs and varying thickness in the strokes. The squared geometric typefaces have also been incorporated into the design, adding a touch of sleekness and modernity. This combination of traditional and contemporary design elements creates a unique visual impact that is both striking and memorable. Ulian also comes with a range of variants, including Regular, Italic, Bold, and Bold-Italic. This versatility allows you to use the typeface across a range of applications, from logos to headlines and everything in between. But Ulian doesn’t just look good—it’s also functional. In OpenType-capable applications, you can access old-style lowercase numerals, giving you even more flexibility in your designs. Overall, Ulian is a one-of-a-kind typeface that is sure to elevate your design game. With its distinctive flat sides, modern letterforms, and unique flair, it’s the perfect choice for anyone looking to make a dauntless statement. So why settle for ordinary typography when you can have Ulian? 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.

Mundo Sans, by Carl Crossgrove for the Monotype Studio, is distinctive, approachable – and ready to tackle jobs both big and small. Its open counters and large x-height, which give the design a straight-forward no-nonsense mien, are softened by inviting calligraphic undertones. With 10 weights and a complementary suite of cursive italics, there is little outside the range of the Mundo Sans family. The light weights are elegant in packaging and brochure design, the medium are easy readers in digital blogs and print periodicals and the bold command attention in banners and headlines. Mundo Sans is at home in a wide range of sizes, and comfortable in everything from wayfinding to mobile apps. Mundo Sans takes on complicated branding projects with efficient grace. The family enables companies and products to express their brand seamlessly in websites, advertising, corporate messaging, packaging – virtually everywhere visible engagement is possible. A large international character set, that includes support for most Central European and many Eastern European languages, ensures ease of localization. Mundo Sans was originally released with seven weights. The family was updated with three new roman weights and their italics in 2019 that extend and diversify its range of use: a fine hairline weight, a book weight, slightly lighter than regular, and a demi that is subtly lighter than the medium. The design is also is a good mixer. It easily pairs with everything from refined Didones to stalwart slab serif designs. And if you need a more harmonious palette, look no further than Mundo Sans’ relative, Mundo Serif. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Mundo Sans’ italics are true cursive designs, with fluid strokes and obvious calligraphic overtones. The flick of the down-stroke in the ‘a,’ the descending stroke of the ‘f’ and baseline curve of the ‘z’ add grace to the design and distinguish it from more mechanistic styles. Mundo Sans is a design with deep roots. It was originally drawn to pair with classic Renaissance book typefaces like Bembo® and ITC Galliard®. With a hint of diagonal stroke contrast and gentle flaring of strokes, Mundo Sans complements these designs with warmth and grace. Crossgrove says that Mundo isn’t meant to be showy or distinctive. It is intended to follow the tradition of sans serif designs that have a wide range of uses, enabling comfortable reading and clear expression. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the text designs of Monotype’s elegant Walbaum™ revival. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

Introducing "TE Warsh Tharwat Emara," an exquisite Naskh font designed to elevate your typography to the next level. Our font features intricate calligraphic strokes, elegant curves, and graceful flourishes that bring a touch of sophistication and elegance to your text. Designed with the utmost attention to detail, every character in "TE Warsh Tharwat Emara" is beautifully crafted and easy to read. "TE Warsh Tharwat Emara" is perfect for typesetting the Holy Quran, with its beautifully crafted curves and strokes. The Naskh script is one of the most popular calligraphic styles used in Arabic typography and is known for its clarity, making it perfect for Quranic typesetting. With "TE Warsh Tharwat Emara," you can create stunning, high-quality typography that is perfect for publishing the Quran, as well as other religious texts. In addition to its suitability for Quranic typesetting, "TE Warsh Tharwat Emara" is versatile and can be used in a variety of contexts. Its elegant and sophisticated design makes it perfect for book covers, posters, branding, and web design. "TE Warsh Tharwat Emara" supports a wide range of languages, including Arabic, Persian, Urdu, and many others, making it ideal for multi-lingual projects. "TE Warsh Tharwat Emara" includes a range of special features that take your typography to the next level. The font includes ligatures and alternate characters, which allow you to create more natural and fluid connections between characters. The alternate characters provide a variety of stylistic choices, giving you even more control over the typography. "TE Warsh Tharwat Emara" is compatible with a wide range of platforms and software, including Adobe Creative Suite, Microsoft Office, and many others. This means that you can use "TE Warsh Tharwat Emara" in your favorite design software, without worrying about compatibility issues. "TE Warsh Tharwat Emara" comes with a multi-user perpetual license, which allows you to use it for commercial and personal projects. The perpetual license means that you can use the font indefinitely, without having to worry about renewing your license. We also offer a range of licensing options, including a single-user license, to suit your needs. In conclusion, "TE Warsh Tharwat Emara" is a must-have for designers and typographers who are looking to create stunning, high-quality typography that is perfect for publishing the Holy Quran, as well as other religious texts. With its intricate calligraphic strokes, elegant curves, and graceful flourishes, "TE Warsh Tharwat Emara" will elevate your typography to the next level. It's versatile, easy to use, and comes with a range of special features that make it perfect for all kinds of projects. So, whether you're designing book covers, posters, or websites, don't miss out on "TE Warsh Tharwat Emara." Purchase now and experience the beauty of our Naskh font for yourself.

An American Scotch remixed in 27 fonts Mencken has twenty seven styles, divided into three widths, three optical sizes, romans and italics. Generally, optical size typeface families belong to a same common construction. It falls into the same category of type classification, while presenting different x-heights or contrasts. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, Mencken Text is a low-contrast transitional typeface, designed on an oblique axis, asserting horizontal with featuring open counters. Its capitals follow Didots to better harmonize the rest of the family. On the other side of the spectrum, Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style. The Mencken is therefore a typeface answering to different sorts of uses, whose design is different according to its uses: from oblique axis in small size to vertical axis in large sizes. Vertical proportions (x-height, capitals height, etc.) were calibrated to be compatible with many Typofonderie typeface families. Lucie Lacava and I followed the idea launched by Matthew Carter few years ago for some of his typefaces intended for publications. From Baltimore Sun’s project to Typofonderie’s Mencken It is a bespoke typeface for American newspaper The Baltimore Sun started at the end of 2004 which marks the beginning of this project. The story started with a simple email exchange with Lucie Lacava then in charge of redesigning the American East Coast newspaper. As usual, she was looking for new typeface options in order to distinguish the redesign that she had started. At the time of its implementation, a survey of the newspaper’s readers has revealed that its previous typeface, drawn in the mid-1990s, was unsatisfactory. The Mencken was well received, some reader responses was particularly enjoyable: “It’s easier to read with the new type even though the type is designed by a French.” Why it is called Mencken? The name Mencken is a tribute to H. L. Mencken’s journalistic contributions to The Sun. According to the London Daily Mail, Mencken ventured beyond the typewriter into the world of typography. Because he felt Americans did not recognize irony when they read it, he proposed the creation of a special typeface to be called Ironics, with the text slanting in the opposite direction from italic types, to indicate the author’s humour. Affirming his irreverence, the Mencken typeface does not offer these typographic gadgets. Henry Louis Mencken (1880 — 1956) was an American journalist, satirist, cultural critic and scholar of American English. Known as the “Sage of Baltimore”, he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. He commented widely on the social scene, literature, music, prominent politicians and contemporary movements. Creative Review Type Annual 2006 Tokyo TDC 2018

Kewl is the result of being caught in the afterimage of one design project while conceptualizing another one. Just before finishing the final tests on Mrs Blackfort, the first of what became a long series of Charles Bluemlein fonts, some of the letters began morphing differently in my mind. The idea was to go on the heavier and more playful side, but with a South American sign letterer’s twist, rather than just good handwriting. I did some sketching, took some notes, then got busy with other projects. Some of that stuff eventually seeped into Candy Script and, to a lesser extent, the Whomp font. But it was only a matter of time before I got back to the original concept and finished it. Kewl is ideal for food packaging, book and music covers, magazines, and window splashes. Illustrations by Catriel Martinez.

"País" is a contemporary and modern grotesque sans serif, inspired by the grotesques of the early 20th century, but more geometric and with a wider x-height than its referents; making it ideal for the current times. "País" comes in 2 versions, each with 9 weights, from thin to black, and matching italics, for a total of 36 fonts. The standard sans serif version is fresh, clean, and more ideally neutral. It's a perfect choice for editorial design, branding, headlines, or any other piece of graphic design. The "País Alt" version has more expressive and modern characters, with some giving it a much more playful image. It is ideal for logos, packaging, web and television use. País contains a total of 682 characters that make it possible to write in more than 200 Latin languages ​​and basic Cyrillic.

Zt. Sigata is an experiment where combining the two font styles into one, namely sans serif and serif, maybe this sounds very strange, don't worry this has been designed with very deep consideration with the serif style superti water droplets in the foliage that present coolness in every word and simple style sans serif with softness on each side, So when combined the two will be an extraordinarily beautiful design invention. Zt. Sigata comes with 6 styles (Regular/ italic, Kozi / italic, Rame / italic) that from each style have their own uniqueness, so it further expands your design experiment, and is great for poster design, packaging, logos, films and thanks to the uniqueness of each style may look good either in magazines or kompanye branding effectively. I hope you have a blast using zt.Sigata Thanks for use this font ~ Khaiuns X zelowtype

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Signskript is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Magnum Sans is a strong neutral sans serif consisting of eleven weights with true Italic, Oblique and an alt upright set called Alfa. The definition of Magnum is a large wine bottle that's twice the capacity of one 750ml bottle, today the name is used in any product offering double the capacity, Magnum Sans achieves this by offering two slanted and two upright versions plus a standard and pro set. Designed to be highly readable Magnum Sans is ideal for text, signage, headlines and media broadcasting or anywhere else quick readable lettering is needed. This standard version supports characters sets for central and eastern European countries with code-pages of 1252 Latin1, 1250 Latin 2, 1257 Baltic and 1254 Turkish. Note: for additional language support, please see our Magnum Sans Pro family, which includes Vietnamese, PinYin and Greek.

David was promised Saul’s daughter in marriage after he defeated Goliath. However, while Saul procrastinated in delivering his elder daughter for marriage, David fell in love with the younger daughter Mikal (1 Samuel 18:20,28). Mikal was the only wife who was reported to have loved David. Her name, Mikal, meant brook, or stream, a symbol of the water of the word. Mikal is a versatile and elegant script font; well suited in the area of magazines, web pages, packaging, logotypes and advertising, etc. This font can be used as body text for its good legibility and accurate kerning. Mikal font has all the advantages of OpenType technology that allows a variety of combinations: Swash, old style numerals, standard and discretionary ligatures, contextual alternates, word ending and tails. Mikal supports all Central European character set as well as basic Western languages.

This steam era typeface, created by Gustav Schroeder in 1884, found popular use on soap box labels and tobacco tins during its initial release. Then, later, a successful and stout revival of Gustav's face, named Othello, was carried out by Morris Fuller Benton in 1934, and the typeface's appeal widened to include items such as broadside posters featuring Boris Karloff's Frankenstein. After metal gave way to film type, Gustav's creation experienced a brief fashion moment in the 1960's, but then disappeared entirely, never re-surfacing as a full digital typeface. With the release of Bathysphere, the typeface comes full circle, having been completely redrawn from scratch using Gustav's original specimens. The new extended language support establishes the typeface firmly in the modern era, while Bathysphere's refinement of subtle blunt corners restores a deep-sea grace to this iron giant.

Blackhawk is a supercharged, street-wise brush font bursting with energy. With extra attention to quick strokes and sharp details, Blackhawk is guaranteed to deliver an unapologetically loud & fast-paced message; ideal for logos, apparel, quotes, product packaging, or anything which needs a typographic turbo-boost. Blackhawk Consists of; Blackhawk ~ A hand-made, all-capitals brush font which has a complete set of alternate A-Z characters. Simply switch between upper & lower case to access the alternates. (Tip: Try mixing up both upper and lowercase characters in a word to achieve the best text layout). Blackhawk Italic ~ A slanted version of the regular font, creating faster movement in the characters. Blackhawk Swashes ~ A bonus set of 11 swashes and 4 paint-splatters. Simply select this font and type any A-O character to create one of the bonus elements.

Tusque is a layered chromatic type family with a Tuscan flavor. Regular, Circus and Tooled can stand alone, while Highlight and Deco are purely for layering up multicolored gorgeousness. Tusque lends itself to fairy tales, wine labels and boutique logos, and makes some particularly delectable drop caps. Although it’s all caps, the lower case slots are all different from the upper case so you can mix and match to your heart’s content. There are also a bevy of swash alternates and ligatures at your disposal. The contextual alternates feature cleverly substitutes alternate versions of more triangular glyphs like A and V to give a better fit. The ordinal feature changes ‘a’ and ‘o’ to the feminine and masculine ordinals for Spanish etc. but also changes ‘c’ and ‘ac’ to superscript lowercase versions for names like McBride and MacDonald.

I want to create a font, which is very elegant. So I made Danizatti Script, a kind of classic decorative script with a modern twist. This is a display font intended for vintage logos, fashion labels, custom card headers, badges, food packaging designs, especially wine labels. Actually a lot of great style was consumed when creating this type :) there are 300 fancy letter and punctuation glyphs. I also offer a number of viable stylistic alternatives for multiple letters. NOTE, that you will get full access to font options only in Open Type smart applications like InDesign or Illustrator. You can find more about how to access OpenType features in Adobe Apps here: http://fontfeed.com/archives/opentype-in-adobe-creative-suite-the-raiders-of-the-lost-glyphs-pt_1/ Check out my other elegant script fonts at the my frofile

Bubble Gum is a juicy multi-dimensional gob of goodness that’s bursting at the seams with loads of alphabetic appeal. Its well-padded figure transforms the ample letterforms found in classic comic strip word balloons into a warm and casual display font with a little extra kick. Cooked up by Dave West for Photo-Lettering, Inc. between the late 1960s and early 70s, Bubble Gum was finally digitized by Jess Collins in 2011. Please note that the shaded version of the typeface is composed by layering the Regular font and a separate Drop Shadow font. Some assembly required. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world. Featured in: Best Fonts for Logos

Ceres is has its roots in Cyan, our other font family. Like Cyan, Ceres has a complementary lowercase that provides more versatility than a classic Roman. It is arguably more elegant than Cyan with its accentuated serifs. The lowercase "e" and "g" give Ceres a distinct calligraphic personality. Ceres, the font, derived its name from Ceres the Roman goddess. In Roman mythology, Ceres is the goddess of growing plants (particularly cereals) and of motherly love. Ceres was usually equated with the Greek goddess Demeter. Ceres was the daughter of Saturn and Ops, wife-sister of Jupiter, mother of Proserpina by Jupiter and sister of Juno, Vesta, Neptune and Pluto. Ceres made up a trinity with Liber and Libera, who were two other agricultural gods. She also had twelve minor gods who assisted her, and they were in charge of specific aspects of farming.

Konrad Kachelofen was a printer in the city of Leipzig beginning around 1483. He printed many works by contemporary authors and also many of the classics. He acquired an unusually large amount of typefaces for his shop, a place that included a wine bar and book store. This type face is based on Typ.11:340G GfT510 Gesamtkatalog der Wiegendrucke and is similar to Proportional Lime’s “Kachelofen'' font. The major differences are that the whole miniscule set is slimmer and the majuscule set has different style glyphs and this face was used solely for titles and section headings because of its sharper and clearer appearance at large point values. Konrad probably died in 1529 after passing his business on to his son-in-law Melchior Lotter, who also went on to fame as an industrious and illustrious printer.

It's just downed a Cortado in one gulp, it's shaved the sides of its head and its grown a magnificent beard groomed with the very best beard oils. Turn around and you'll find that it has illustrated today's specials in chalk on the wall sized blackboard behind the espresso machines it's Quigglesmith! Penned by Comicraft's very own Chattanooga Barista, Sarah Hedrick, with a foam art finale by Swell John Roshell, it's sure to dye its hair purple by the weekend. Quigglesmith is as variable in its weights as your soy/almond/oat/hazelnut milk choices at the coffee bar, and is sure to bring customers back for more. Have a Biscotti on us. Quigglesmith contains an alternate version of each upper and lowercase letter which automatically cycle for a natural, hand-drawn appearance. Each weight contains 538 glyphs and supports 220 languages.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Rafskript is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Since the 1800s, many patents were issued for methods to hold papers together. The two most popular and enduring tools still in use today are the stapler and the paper clip. In recent times a number of clips in novelty shapes have been available in just about every size, shape and color imaginable. Back in the beginning there were many variations as well, but the purpose of these design variants was to try and command the majority of sales in the fledgling market of bent wire clips by offering a unique and hopefully better product. Fastenating JNL contains twenty-five images based on those early clip designs as well as one classic paper fastener (on the Z and z keys). The standard gem clip has been the most enduring design and is well over one hundred years old.

Neon Love was designed originally for a circle coaster design with a quote by the Beatles’ “All you need is Love, Love is all you need”. The inspiration of the lettering was a neon sign style where a cursive script is kind of bended from those glass wires. The idea was to get the overall look and feel of neon signs into a font, as well as creating a good raw material to use for some further photoshop effects to enhance the visual presentation. Neon Love has many OpenType features that allow for choices that can make the lettering unique. Neon Love has two versions of the font a Smooth one which is connected and the Cutout version which can be used to create neons and for this it is in parts. Design by Roland Hüse and Schriftlabor team.

Hand drawn serif typeface designed for one of our books. You can use just the regular style or set the fill style over the stroke style to get a more colorful version. It has upper and lowercase characters with up to three alternate glyphs. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t throw random glyphs (so it won't break the layered, two colored version). For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand. Mr Anteater has younger sister. Mrs Ant was designed for side notes in the same book.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Mediterra is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

The font is based on an alphabet from a mid1920s art deco book. The original seemed to have tapering strokes but it was too small to be sure; I made all strokes parallel & orthogonal and slightly modified the original in a number of other ways to bring it into the 21st Century. The designers of the original were Paul Carlyle and Guy Oring. Nocturne has all the elegance of the Deco fonts of the 1930s. It recalls the romantic, sophisticated Zeitgeist of the early 20th century, that nostalgic time "between the wars". Nocturne comes in two styles: Nocturne Regular, which uses the Art Deco convention of small x height, and long ascenders. This style is perfect for headers, posters, labels etc. Nocturne Book, which, with its higher x height and slightly wider characters, is extremely legible and suitable for small size text.

The Duero is one of the major rivers of the Iberian Peninsula, flowing from its source across northern-central Spain and Portugal to its outlet at Porto. The "Duero viñatero", is an area of the Duero Valley where its famous wines are produced. "Duero", a new script font designed by Olcar Alcaide. Its slight bounce and intentional irregularity gives your words a wonderful flow. The thick and thin strokes in this typeface combine balance and harmony. "Duero" has OpenType features such as Stylistics and Contextual alternates, Swashes, Ligatures, that allow you to mix and match pairs of letters and a Central European language support to fit your design. This will help your creativity and make it easier to make the impressive and elegant typographic work.  "Duero" looks good on food packaging, logo design, business-cards, fashion, magazines, menus, book covers and much more!

Worthe Numerals come out of a time-tested development cycle where House Industries employees ask “What if this could be just a little more…”. After pushing traditional didot forms to the limit, these digits were originally applied to a set of wood blocks. But, who says replenishable Michigan-grown basswood should have all the fun? So we added everything one needs to stylishly set their current currency and credit default swap hedges, while also being able to set the appropriate fractional take from their blog’s micropayment structure. Made to be large, attract attention, and —when needed— drop a shadow, Worthe Numerals brighten the daily drumbeat of numerical gloom. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Hello, design enthusiasts! Allow me to present "Estrand" - a distinctive Display font with a penchant for sharp angles and bold character. Estrand features an edgy and angular design, characterized by rigid corners and a slightly condensed form that exudes a sense of precision and boldness. The font is crafted with sharp angles, giving it a unique and commanding presence. Its condensed nature ensures a sleek and modern aesthetic, making it an excellent choice for designs that demand a tinge of fierceness. Key Features: Sharp Angles and Bold Character: Estrand embraces a sharp design with well-defined angles, adding a touch of assertiveness to your typographic compositions. Slightly Condensed Form: The font's condensed structure contributes to a sleek and modern look, allowing for efficient use of space in various design applications. Distinctive and Commanding: With its firm personality, Estrand stands out as a font that commands attention and leaves a lasting impression. Versatility: Whether applied to branding, logos, or any design project, Estrand's unique characteristics make it adaptable to a wide range of creative endeavors. Estrand is your go-to font for designs that demand a sharp and distinctive edge. If you have any inquiries or require further information, feel free to reach out. Your feedback is highly appreciated. Thank you for considering "Estrand" for your design endeavors.

Sildetas is an elegant high-contrast script face. Sildetas was conceived as non-connected, high-contrast and ultra heavy script, as best exemplified by the Black weight. However, it was too much of a temptation to design a hairline variant, and this exploration gave the family’s lighter weights an elegant, graceful feel. The script was modified further to use connected letterforms as the primary glyphs. With its unique swirled ball terminals, this versatile script draws immediate attention. The face glides and flows across the page and the swirling ball terminals provide an interesting diversion to the flow. The lighter weights have an almost spencerian look. Sildetas includes six weights and is a very unique script face. Lighter weights can be used for elegant invitiations. Sildetas can get the job done for many unique design tasks. Sildetas includes many useful OpenType features, including a set of non-connecting and titling alternates, ligatures, and two types of end swashes. Opentype features include simplified swashed stylistic alternates without ball terminals, swash endings, ending contextual alternates, discretionary ligatures, ligatures and five different stylistic sets filled with alternates. In total, there are over 60 alternate letterforms. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages.

Japura - Modern Display Typeface for Versatile Designs Japura is a unique and modern display typeface that will give your designs a classic, fun, and trendy impression. This font is perfect for display purposes such as album covers, posters, labels, t-shirts, signage, quotes, logos, and much more. With its elegant design inspired by vintage typefaces and posters, Japura comes with several variations such as ligatures, making it stand out from other fonts. Japura supports multiple languages, and its alternative characters are divided into several Open Type features, including Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligatures. You can access these features using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. In the Zip package, you will find Japura in otf, ttf, and woff formats. It comes with uppercase and lowercase letters, OpenType Alternates and Ligatures, numbers, punctuation, and symbols. With its multilingual support, Japura is perfect for any design project that requires a unique and modern display typeface. Upgrade your design game with Japura, the perfect font for a wide range of businesses and projects. Meta Description: Introducing Japura, a unique and modern display typeface perfect for album covers, posters, labels, t-shirts, signage, quotes, logos, and more. With multilingual support and Open Type features, upgrade your designs with Japura today.

Volatile Serif, designed by Mans Greback, is a luxurious and romantic typeface that exudes an air of softness and delicate beauty. Its flowing, liquified forms, and delicate swirls evoke feelings of empathy, creating a sense of connection and warmth. This font is perfect for high-end projects that demand a touch of fine elegance. Inspired by the gentle movements of water, the designer sought to capture the essence of fluidity in Volatile Serif. The result is a typeface that feels alive, as if its character is organically creating the word, making it a perfect choice for luxury brands, romantic designs, and storytelling. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Mans Greback is a Swedish typeface designer with a passion for creating unique and versatile fonts. With an extensive background in design and typography, Mans has built a reputation for his meticulous attention to detail and prolific craftsmanship. His many fonts are widely used by designers around the world, making his work synonymous with creativity and innovation.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

Carl Gauss is a modern sans-serif font that combines geometric precision with the beauty of neo-classic design. Its clean lines and sleek appearance make it an excellent choice for logotypes, branding, and other projects that require a crisp, contemporary touch. The font's distinct elegance and attention to detail make it an attractive choice for a wide range of applications, from digital to print. Carl Gauss is designed to bring clarity and sophistication to your projects while maintaining a sense of warmth and approachability. The Carl Gauss font family includes eight high-quality styles to suit various design needs: Regular: A balanced, versatile style for everyday use Italic: Adds a touch of movement and expressiveness to the regular style Bold: A stronger, more assertive version for impactful designs Bold Italic: Combines the boldness of bold with the energy of italic Caps: An all-caps variant of the regular style for a more commanding presence The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Gordita is a minimal sans serif typeface with a geometric foundation that has been built upon with modern details that result in an optically balanced, friendly typeface. When designing Gordita referring to features in Futura were influential as were the structural and harmonious strokes of Gotham. Forms have been optically compensated to appear natural and purely geometric. Joints are slightly tapered and ink traps feature in heavier weights with the purpose of achieving maximum legibility. Gordita has been tested in print and on screen in a wide range of point/pixel sizes. The family is equipped with OpenType features including alternate glyphs, fractions, case sensitive forms, small figures, arrows and symbols as well as old style and tabular figures. Now delivered in 7 weights with matching italics that slant at 15°. The italics are slightly lighter and narrower than the upright versions. The horizontal weighting in the italics have been reduced to compensate for the loss of vertical stroke thickness. With support for over two hundred languages with an extended Latin and Cyrillic character set, Gordita is ready to be put to work. Designed by Thomas Gillett, metrics and engineering by iKern (Igino Marini). The family has been recently updated to include two additional weights (Thin & Ultra + their matching italics) as well as slightly opened apertures for better legibility in the heavier weights, new glyphs and more opentype features.

LaFemme Vibe is a conceptual serif font that exudes a modern and elegant aesthetic, tailored specifically for women. Featuring uppercase characters with distinctive curly signatures, LaFemme Vibe combines the following elements to create a unique visual experience: Classy Serifs: LaFemme Vibe boasts serif characters with soft, graceful serifs that add an element of sophistication to each letterform. Asymmetrical Charm: This font is intentionally imperfect in its symmetry, as if crafted by a gentle, artistic hand. It radiates an inviting and charming quality. Curly Signature Flourish: The curly, signature-like embellishments that adorn the letterforms in LaFemme Vibe infuse a personal and artistic touch. This imparts the sense that each word written with this font is a unique work of art. Modern Harmony: Despite its classical elements, LaFemme Vibe maintains a modern sense of harmony. The letters appear assertive yet gentle, making it perfectly suited for contemporary women seeking timeless elegance. Elegance and Chic: LaFemme Vibe embraces an elegant and chic aesthetic that is particularly fitting for products or designs targeted towards women who aspire to exude luxury and style. LaFemme Vibe is a typographic masterpiece created to bring a modern and elegant sensibility to women who appreciate beauty in every detail. It’s a font that effortlessly blends classic charm with contemporary allure, making it an ideal choice for a wide range of design projects aimed at celebrating the essence of femininity.

As a late work the “Meier Kapitalis” forms an arch within the typographic creations of the Swiss type designer Hans Meier who died in 2014. The first sketches of this typeface can be found in the teaching manual “The Development of Script and Type” (German: “Die Schriftentwicklung”; French “Le développement des caractères”) which was published in 1994, however, under the title “Roman Lapidary, 1st Century”. The booklet was first published by the Syntax Press, Cham, Switzerland and contains an introduction by Max Caflisch in which he writes: „The present work, „The Development of Script and Type“ is a concise, authoritative textbook, concentrating on the essentials in a wide survey from ancient Greek inscriptions to the printer’s typefaces of the present day. His (Meier’s) 72 varieties of letterforms enable the student or general reader to understand the history of script and type, while more than 60 of his own calligraphic specimens provide excellent models for all who practice this art.“ Unfortunately, the “Meier Kapitalis” is one of the few typeface families in this publication which has been digitized. It was to be the last type project fully realized by Meier. In cooperation with Elsner+Flake, the typeface family was developed and expanded and now contains the four cuts: Roman, Medium, Demi Bold and Bold with either a complement of characters for 78 Latin-based languages (EL=EuropaPlus) or in West-Layout.

Odradeck is a typeface that originated from the idea of creating a tall, but narrow font, while combining brutalism and technogenic. The difficulty was not to go to extremes and make the font moderately neutral in order to significantly increase the range of font applications. Odradeck came out with a strict, industrial, geometric, but moderately neutral semi-mono font with two axes of variability: height and slant. To all this, + 300 glyphs were added and, as a result, support for +80 languages. The structure of the font allows you to use it in a limited space, and its flexibility will allow you to fill and use this space to the maximum. You can apply it in a very wide range of designs. Whether it's a logo, packaging, banner, title, text, poster, merchandising, identity, branding or product design. Language support: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu.

Introducing Demine – Condensed Bold Sans Serif Font The Perfect Typeface for Large Displays Demine – Condensed Bold Sans Serif Font is an ideal choice for meeting your large display typography needs. With its distinct features, this font stands out in the world of design. Bold Impact for Attention Demine’s bold design unquestionably captures attention. Whether it’s billboards, posters, or signage, this font excels in conveying a powerful message that can’t be ignored. Furthermore, it ensures that your content immediately seizes the viewer’s gaze. Optimal Readability Even at Scale Despite its condensed form, Demine prioritizes readability. Each character is thoughtfully crafted to remain clear and legible, ensuring your message is effectively communicated, even at larger sizes. Consequently, it guarantees that your audience can easily comprehend the content. Versatile Design Applications Demine’s versatility shines through in various design applications. It’s not limited to headlines; it also excels in branding, packaging, and any project where making a bold statement is essential. As a result, it can adapt to a wide range of creative endeavors. In Conclusion Demine – Condensed Bold Sans Serif Font epitomizes typography that marries boldness with clarity. When you need your message to shine large and clear, Demine is your go-to choice. Elevate your designs with Demine’s impactful presence, and witness your message soar to new heights, leaving an indelible impression on your audience.