''Sometimes, you fall in love with someone, and, sometimes, you fall in love with something. I fell in love with the work of Harald Geisler. Harald and I met through our work on a couple of Kickstarter projects (Typographic Wall Calendar and The Montserrat Typeface). We sympathised immediately with each other, and that lead us to start a new project. The electricity we felt was captured in Electric Cable (that’s what we named it), a typeface designed in our own image and likeness. Electric cable is connected, and that power leads it to write unexpected things. It’s a letter for the flâneur: it carries within itself a high voltage that makes it lively. It has energy and spark. That’s exactly what we would like in a person. It is a display typeface, current and contemporary. It is based on the connection of two friends who felt the need to create a common language even without speaking the same language. In editorials use, your words will become strikingly beautiful. Electric Cable features geometric, humanistic qualities,and also some script, but ,above all, it has a sense of humor.’’ Julieta Ulanovsky (Usage tip: Use the “

Benchmark Pro is a carefully structured geometric typeface which works amazingly well in body text due to its simplistic nature and large x-height. The design of Benchmark Pro started out as an attempt to convert the minimalistic structure of a technical and purely geometric design into a readable modern and friendly sans serif. This was achieved by selectively changing and turning the straight lines of the initial drawings into curves and applying legibility techniques to the transformed letterforms. These letterforms have a distinct personality which is bolstered by its angular curves and open counter terminals. The result is a contemporary text typeface that looks quite fashionable. Benchmark Pro gets away from the ultra modern and mechanical structure but keeps its display nature, it gets away from the classical but still remains legible. This robust san serif type family offers an extended character set which supports simultaneously Latin, Cyrillic and Greek. All Benchmark Pro font variants have a companion italic, rounding the total family members at 14 fonts. Each font includes more than 750 glyphs and is powered with 17 opentype features. PDF Specimen Benchmark on Behance

Densit is a display mega black typeface, containing 6 styles. It aims for a ultimate density with a maximum weight on a minimum place. Glyphs therefore balances on a slim border of touch. The typeface is designed for expressive and short texts at big sizes and is suitable for photography or other visual materials underlaying. The 3 basic styles parodies ordinary type styles. They only differents from each other lays in the lenght of straight thin lines. The stencil style without these lines is intended especially for spray stencils, the sans style is imitating linear sans types and the serif style having stronger contrast and indicated serifs. The typeface contains a large set of special ligatures for playing with aesthetic qualities of text and obtain maximum space saving. Densit contains 34 special forms for members and frequently used short words in various languages. Very short terminals offer compact setting of multi-lines captions. Densit can be used for music posters, eye-catching headlines of art articles and everything in which is possible graphic impression from legibility prefered. • 6 styles (2 alternatives, 3 kinds) • 12 OT features • 1313 glyphs • sophisticated system of ligatures • support of latin languages

Uniform is a multi-width geometric type family designed around the circle. The O of the Regular width is based on a circle, the O of the Condensed width is based on 1.5 circles stacked (with straight sides) and the O of the Extra Condensed width is based on two circles stacked with straight sides as well, and all other characters are derived from this initial concept. This unique idea creates a remarkably fresh type family that bridges the gap between circular geometric typefaces and condensed straight-sided typefaces. Uniform also includes many opentype features like Old Style Figures, Tabular Lining Figures, Alternate characters, Ligatures and more. Uniform was first drawn starting with the Black weight. This careful process allows each character to look consistent and balanced through all weights. As a result, the typeface does not ‘break down’ or lose its form in the boldest weights like many typefaces do. The three widths of Uniform make an ideal type family for a host of various uses. From branding to web design, book covers to signage, Uniform is a very versatile solution to complex typographic needs.

Callisto is a classic serif stencil fonts that is a stencil font like no others. Elegant curves are paired with great legibility and wide range of available glyphs. While stencil fonts are generally thought of as too masculine and rough, Callisto is very feminine and soft, which makes it perfect as a logo font for those who seek to further emphasise their brand's identity. Despite being a display font, Callisto looks great at smaller sizes, so short headlines and headers will look natural and email legible even in smaller sizes. Callisto comes in two styles —Regular and Half —which can easily be combined within the same body of text. Regular is a more minimal style, with wider and more open apertures, while Half is a hybrid between a serif and stencil font that still has longer strokes and stems. Each style consists of 415 glyphs, ranging from fractions to diacritics. There are a number of glyphs with cool stylistic alternatives (which is awesome for branding), lots of punctuation and OpenType features. Callisto is a great font for designers and artists who need a feminine font with a really strong character.

Lecturia is a modern humanist sans serif typeface. Ascending dynamic movement characterizes the structure of it’s characters -- the stylistic alternates emphasize this impression. The family comprises eight weights from the most delicate "Hairline" to the strong "Bold" -- each upright and italic. Using the variable font, the intermediate levels can be controlled fluently. The forms and proportions of Lecturia have been selected to be very legible as body type for longer texts. Lecturia ist still legible from a great distance or under unfavorable conditions. In large sizes as a heading, the font is very eye-catching. The shapes of the individual characters follow the "humanistic" form language of modern faces. In addition to ligatures for problematic letter combinations, it contains stylistic alternates for some characters that make the appearance even livelier. Small caps provide a restrained opportunity for emphasis. In addition, Lecturia offers several sets of numerals: proportional standard figures, lining figures, proportional oldstyle figures, non-proportional tabular figures, superscripts and subscripts, numerator and denominator to represent fractions, circled numbers. The very good legibility of Lecturia makes it the ideal typeface for information systems -- a selection of directional arrows is included.

Cavole Slab is a new slab serif, designed in early 2011, that has a strong influence from Dutch typography. The name is an altered form of the Portuguese word for feather, emphasizing the typefaceís soft and friendly character. Slab serifs give this face plenty of impact and make it an excellent choice for contemporary designers. The font family includes a very dark and powerful black all the way down to a hairline thin weight, giving a tremendous versatility. The family also features dynamic italics that add plenty of emphasis and momentum. Cavole Slab is suitable for both headline and text settings and should easily find its place in a number of different settings, from corporate identity to magazine body copy. There are six weights that come with complementary italics, and each font includes over 450 characters and extended Latin-based language support. The typeface family comes in OpenType format, and OpenType alternates are easily accessible through OpenType enabled applications such as the Adobe suite or Quark. Please see the informative .pdf brochure to see what OpenType features are available and to see them in action.

Seconda Round is a contemporary, legible, and versatile typeface. It is the round companion of Seconda. Unlike Seconda Soft, which has moderate rounding — the edges of Seconda Round’s characters are fully rounded. The Seconda Round family has been enriched by a collection of Outline and Shadow fonts, each with its own Fill font. Combine an Outline or Shadow font with its Fill font in an application that uses layers, to create a two-color version of the Outline or Shadow font. Seconda Round has 32 styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. For text and display use. The Outline, Shadow, and Fill fonts are not suitable for small size texts. The Fill fonts are only to be used in combination with their Outline or Shadow font. Seconda Round can be combined with any other member of the Seconda superfamily, extending the wealth of design options the Seconda superfamily offers. Seconda Round is well suited for graphic design, editorial design, and corporate identity design. Seconda Round’s Outline and Shadow fonts will add flair to any design project. For more information about Seconda Round, download the PDF Specimen Manual.

Debut Studio Presents The Retromax.... This Script is a special script or typeface in which the emphasis is reversed from the norm: instead of the vertical lines being wider or thicker than the horizontal lines, which is normal in Latin alphabet writing and especially printing, horizontal lines are the thickest. It's quirky and fun, you can use for any project. Retromax is also a Layered Fonts, Layered fonts have letters that appear raised, or stacked in multiple layers of different shades or colors. Some layered fonts actually include multiple files for each layer. With layered font families, we can create novel combinations of 3D with Shade. Features: Uppercase & Lowercase Number & Punctuation Multiple Language & Stylistic Alternate Files Included: Retromax Regular Retromax Offset Retromax 3D Retromax Shade I hope you like my latest product, This collection will be perfect for creating posters, art prints, apparel and t-shirt designs, Instagram and other social media posts, and many more. if you have questions and problems when using it, please leave a message in the comments or via direct message, I will be very happy to reply, Happy Designing!

Premium Sans is a professional typeface which is aspired to solve the major typographic challenges in editorial, print, Graphic design, Commercial designs and other form of templates and documents such as pdf or ms word. It has four weights light, regular, semi bold, bold. Each with an italic profile, so in total it has 8 typefaces. We created this typeface to have attention of reader in Graphic commercial designs and as well as on editorial designs. The X-height plays a great role in readability of a typeface, so we tried to give it a reasonably high x-height with accordance to ascenders and descenders. We've engineered it in such a way that it can easily be paired with script, slab serif and serif typefaces. Premium sans is made on minimum required character set which will be handy while typing currency symbols like cents, dollars or euro and also be very useful when typing the characters consisting of diacritic. We've designed it in such a way that either you write a long content for editorial purposes or you create a typographic or graphic/commercial design it will look nice and fine which is the uniqueness of this font.

Sweet Gothic Serif is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. It is a serif variant of Sweet Gothic. Sweet Gothic Light (without serifs) is closely based on lettering from an engravers pattern from the early 1900s that was used for tracing letterforms with the engraving machine (pantograph) to make steel engraving plates. The design is related to many similar engravers gothics developed in the early 1900s, but as each engraving house created by hand their own patterns for popular styles of the time, there is variation among the models. Sweet Gothic offers contrast in stroke weight and its unique personality. The bolder weights are new designs, based on the characteristics of the Light. Sweet Gothic Serif has been developed to expand the usefulness of the Sweet Gothics, offering an alternative to Copperplate Gothic. As such, most of the fonts are new designs, yet may seem familiar and ubiquitous given their model. The fonts offer two sizes of figures and monetary symbols: one set is intended for use with upper- and lowercase settings; the second set is the same height as the small caps.

Maxengine is a bold script font that refuses to conform. This rebellious yet playful typeface marries boldness with a touch of whimsy, creating a dynamic and unique script that captures attention and refuses to be confined by traditional design norms. The characters in Maxengine boast a rounded shape, bringing a sense of friendliness and approachability to the bold script. What truly sets it apart is the intentionally uneven outline details, adding an element of spontaneity and creative flair to each letter. This unconventional approach results in a font that exudes personality and breaks away from the ordinary. In addition, enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Maxengine fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Zulia is located in the west of Venezuela and it is the state in where Joluvian grew up. It is a region of sunshine, high temperatures, oil and cheerful people, although we choose the name to honor his mother who is from there (zuliana) and who is proud of her land and everything that it represents the area. Zulia is also his first typographic project. It is based on two of his favourite calligraphic styles: italic and brush pen. He started with simple and contrasted strokes on paper with brush and marker. After that he developed the full alphabet and its various options for each letter, starting from a set of handmade forms that could be connected in different ways according to the user needs. What motivates him to involve this style was to create a differentiation with his daily work by generating a heavier type, contrasted and low rise. Zulia finally got life of its own with the participation of Alejandro Paul and a feedback of techniques and skills that were generated with the duo work. Zulia is not just a typeface, Zulia is his love of letters.

Biotrons is not your ordinary bold display serif font—it's a visual powerhouse that commands attention with its unique design. This font is a daring exploration of boldness and precision, bringing a cutting-edge aesthetic to the world of script typography. The characters in Biotrons are defined by their bold strokes and sharp corners, creating a strong and impactful visual presence. The deliberately uneven outlines add an element of unpredictability, giving each letter a sense of individuality and flair. Biotrons is a font that thrives on breaking away from the expected norms, offering a dynamic and modern take on the traditional script. Enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Biotrons fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Hello Everybody Hurry up and take handwritten works with natural scribble effects to design your product to make it look more memorable & attract everyone's first glance ! Real Dreams is a stylish and brushed handwritten font. This gentle font will look gorgeous on a variety of design ideas. It will add a joyful and romantic touch to each of your projects! Features: – Swash Collection – Unique Ligatures – Special Underline – Multilingual Support 83 Country – PUA Encoded – Numerals and Punctuation Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Tait, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu. Thank you and happy design !

Introducing Hoax – a pre-worn sans serif with spirit, personality and distinction. This bold and semi-condensed sans serif is inspired by old copy machines and vintage prints. It is lively and eye-catching, ideal for where and when you want to make a lasting impression. Hoax is a celebration of character, a tribute to curiosity. Use this typeface and let everyone know that you mean business. OPENTYPE FEATURES: This font includes over 40 discretionary ligatures of prepositions and common words in English. These OpenType features can be accessed using OpenType friendly applications that allow the use of discretionary ligatures and stylistic sets. MULTILINGUAL SUPPORT: With over 700 glyphs, it has support for more than 150 languages, including Cyrillic script. List of discretionary ligatures: AND, ARE, AT, BY, FOR, EST, FEAT., FROM, IN, IS, OF, ON, OR, OUR, THAN, THAT, THE, TO, WITH, YOUR, CO. Each word is available in both upright and slanted versions. How to use: Activate the discretionary ligatures as you normally do in your OpenType friendly application. When activated, the words are in upright versions. To access the slanted versions, activate the first stylistic set (“Slanted Ligatures”). Happy typing!

Introducing Patihan, the font that will bring your designs to life! With sharp, strong, bold characters. Patihan font family is a combination of three different styles – Sans, Slab, and Serif – each with nine different weights: Thin, Extra Light, Light, Regular, Medium, Semibold, Bold, Extrabold, and Black. This font has beautiful Ligature and Stylistic Alternate settings, Patihan font is also equipped with the Smallcaps feature which gives more control over the typography, allowing you to create elegant and unique typography. Sans version of this typeface is versatile and easy to read, with a minimalist but impactful aesthetic. The Slab version is characterized by its solid, powerful strokes, while the Serif style has that extra classic flair with elegant curves and extreme contrast to its look. Patihan font is optimized for readability, making it a great choice for headlines, titles, and any long-form content. Ligature settings and discretionary styling add an extra layer of sophistication, making this font a great choice for magazines, branding and advertising. Overall, this font is a great choice for those looking to make a lasting impression. Its versatility, readability and unique features make it an excellent choice for any project.

“Designers can’t help but be inspired by the things that surround them,” says Massif’s designer Steve Matteson. An avid mountain climber, Matteson found his inspiration for his text face family in the dramatic granite formations of North America’s Sierra Nevada Mountains. Most of Matteson’s type designs are custom projects designed with an end use or customer in mind. Massif, which had no customer or specific purpose, was probably his most personal typeface to date. “My goal was to embody, in Massif’s two-dimensional letterforms, the angular tension and smooth curvature characteristic of the rugged terrain of Yosemite National Park’s Half Dome, which was formed by eons of glacial and tectonic activity,” Matteson explains. The typeface’s striking design echoes the faults and fissures that define a massif formation, resulting in a rich texture when used for body text and revealing distinctive shapes and proportions at display sizes. The Massif family comes in six weights, from Light to ExtraBold, each with an italic companion. The OpenType Pro suite contains small caps, ligatures and old style figures, and offers a small set of decorative ornaments. Pro fonts also include an extended character set supporting most Central European and many Eastern European languages.

Katastrofe is danish for … well, catastrophe - you may have guessed that! This font was almost a catastrophe to make! I cut out all the letters in a cardboard, and went outside to spray the letters with a spraycan. Everything went smooth as planned, but suddenly the wind started to blow and the papers started to fly away! Luckily I found some stones I used to make the papers stay in place. Lucky for me - otherwise it would have been a catastrophe! Seconds after finishing this font project, it started to rain…I just avoided a catastrophe! But is this font really a catastrophe, or does it just mimic punk/spray/grunge/riot? Make your own statements using Katastrofe, or perhaps your very own punk sayings like “Punk is not dead”, “Anarchy Rebel” or what suits you the best. Whatever you choose to write, you will definitely get that real punk look! Perhaps you could even do a t-shirt print that says “Katastrofe” :) Comes with different upper and lowercase letters along with alternate versions of each letter - and of course a lot of foreign letters, because punk is not dead and punk is universal!

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! What if you could have a graffiti font collection? Or a street-inspired font collection? What if you want something clean, legible, yet still playful and fun? Searches online turn up nothing. Those popular sites only provide typical graffiti fonts. Well don't worry. What you’re looking for lies right here. We combine art and technology to bring the most extensive graffiti font collection around to your doorstep easier, faster, and cheaper than anywhere else. Introducing, Blindness Graffiti font is more than just random lettering. Its structured strokes and grungy strokes ooze its strong characteristic, inspired by urban style or cyberpunk design. It’s out of this world yet the balance between action and serenity keeps the font grounded. Blindness Graffiti is available in uppercase, lowercase, numerals, punctuations and lots of variations on each character include OpenType features, alternates, common ligatures and also additional swash to let you customize your designs. A Million Thanks www.colllabstudio.com

This version of News Gothic contains the Vietnamese character set. Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Body Types). The most obvious differentiation can be found in the spacing. That of the Body Types is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Body Types, fine spaces were created which prevented the smear effect on acute angles in small type sizes. For a number of Body Types, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Baker Street was inspired by a recent trip to London, England where I happened upon a bustling pub with beautiful typographic signage. Early sketches created an array of specialized ligatures from which the font really took shape. The family is comprised of regular, italic, inline and a rustic textured style. Baker Street delivers a multitude of Opentype features, primarily including hundreds of discretionary ligatures that connect letter pairs through varying flourishes. These distinct ligatures are used in combinations between two capital letters, two lowercase letters, uppercase to lowercase pairs and specific number combinations. For a number of capital and lowercase letters, large swashes expand above and below the characters. Contextual swashes are also applied to some characters when placed at the beginning or end of a word. Stylistic Alternatives and Titling Alternatives offer distinct style variations to capital letters. Tabular Lining and Oldstyle Figures provide several numerical alternatives. Lastly, the family also includes two sets of ornaments created specially to work with Baker Street’s style. With all that, Baker Street provides each and every user the tools to solve their own case. The game is on!

Introducing Moderately, a chunky and friendly typeface that makes a bold statement. This high-impact font is specifically crafted for designers seeking a display typeface with presence, perfect for applications where large, expressive type is a must. The defining features of Moderately include a generous x-height, soft curves, and tight spacing, ensuring a punchy and fresh aesthetic. Moderately is a deliberate departure from your contemporary sans with nary a straight line to see, embracing the organic and dynamic qualities reminiscent of blocky Art Nouveau typefaces, notably inspired by the works of Alfred Roller. While drawing influence from psychedelic / Art Nouveau revival typefaces of the 1960s, Moderately strikes a contemporary balance, delivering a design that is both impactful and approachable. Each glyph in Moderately attempts to maximize its space within the em square, incorporating slim carve outs for counters and apertures. The name "Moderately" adds a touch of irony, as this typeface is anything but plain – it exudes affable confidence and subtle flair. Created with versatility in mind, Moderately offers broad support for Latin-based languages, ensuring its adaptability for a wide range of creative projects.

Introducing "Grosin," a captivating typeface that seamlessly merges the timeless elegance of Art Deco with a modern, condensed form. This font embodies the essence of sophistication, offering a perfect blend of retro aesthetics and contemporary appeal. Grosin's condensed design is a nod to efficiency, allowing it to make a bold statement even in limited space. Its sleek lines and geometric precision capture the essence of Art Deco, evoking the glamour and elegance of a bygone era while maintaining a distinctly modern feel. With Grosin, each character exudes a sense of refined simplicity, making it an ideal choice for conveying a sleek and stylish impression. The font's condensed nature ensures versatility, making it well-suited for a range of applications, from titles and headlines to posters and modern art projects. The beauty of Grosin lies in its ability to transport your designs into a harmonious blend of past and present. Whether you're aiming for a retro-inspired aesthetic or a modern twist on classic design, Grosin stands as a testament to the enduring allure of Art Deco, breathing new life into your creative endeavors. Choose Grosin for a typeface that effortlessly bridges the gap between nostalgia and contemporary chic.

Discover the versatile and stylish Abraham Font Family at MyFont. With 8 unique styles, including Regular, Italic, Rough, Stamp, Shadow, Outline, and Rounded, this modern sans-serif modular family offers endless creative possibilities. Perfect for a wide range of design projects, Abraham is suitable for logos, greeting cards, quotes, posters, branding, business cards, stationary, blog headers, and more. Each style of the Abraham Font Family features both uppercase and lowercase letters, ensuring flexibility in your designs. Additionally, it includes stylistic alternates, standard ligatures, and numerals & punctuations in OpenType format for seamless typography. Enhance your artwork with the multilingual support of the Abraham Font Family, which includes a wide range of accents and characters to accommodate various languages. The font family is PUA encoded, allowing for easy access and usage across different platforms and software. With the Abraham Font Family, you'll receive the following fonts: Abraham Regular, Abraham Regular Italic, Abraham Outline, Abraham Outline Italic, Abraham Rough, Abraham Stamp, Abraham Shadow, and Abraham Rounded. Whether you're designing greeting cards, package designs, brand identities, or art projects, Abraham Font Family will add a touch of sophistication and creativity to your work.

Links was built adhering to a strict grid of 'linked' squares; and comes with special "Grid Glyphs" that line up perfectly with all characters. These Grid Glyphs can be used to create an invisible grid for your layout or as a background to enhance your design. Perfect for posters, logos and headlines, this font is available in four styles; Round and Square with accompanying obliques. This font was inspired by much of the lettering from the Dutch movement, or Functionalism which in turn was a descendant of the International Style pioneered by the Swiss. In keeping with these traditions, Links was build adhering to a strict grid of linked squares, taking a clear scientific approach to construct each character. One of the main features of International Style is the implementation of a Grid. This font has built in special characters that I call 'Grid Glyphs'; these Grid Glyphs line up perfectly with every character, enabling you to construct your own grid that echoes the form of the characters. These glyphs can also be used to create a background for your layout, as can be seen in the gallery pictures.

Introducing "Glize" – a dynamic and bold oblique typeface designed to infuse your projects with an unmistakable sense of speed, strength, and sharpness. Crafted with precision, this font exudes a powerful and energetic vibe, making it an ideal choice for projects centered around superhero themes, sports, esports, and other high-energy contexts. The bold strokes of "Glize" create a commanding presence, instantly capturing attention and conveying a sense of forceful momentum. The oblique angles add a dynamic slant, enhancing the font's overall sense of motion and agility. Each character is meticulously shaped to embody a sleek and streamlined aesthetic, contributing to the font's ability to convey a feeling of speed and intensity. Whether you're designing a logo for an esports team, crafting promotional materials for a high-impact sporting event, or working on a project that demands a bold and powerful visual identity, "Glize" is the perfect companion. Its bold oblique design ensures that your message is delivered with vigor, leaving a lasting impression on your audience. Elevate your designs with the striking and forceful character of "Glize" – where bold meets speed, and strength meets style.

Introducing Renois – Display Sans Serif Powerful Impact, Bold and Condensed Renois – Display Sans Serif is more than just a font; it’s a meticulously designed tool for achieving a commanding presence in a variety of display applications. Command Attention Instantly Furthermore, Renois is purpose-built to command attention instantly. Its bold and condensed design ensures that your message takes center stage and captures the viewer’s gaze right away, making it perfect for headlines and displays that demand immediate attention. Clarity in Boldness Remarkably, despite its boldness, Renois prioritizes clarity. Each character is thoughtfully crafted for optimal readability, guaranteeing that your message is not only impactful but also effectively communicated, even at larger sizes. Versatile for Diverse Displays Moreover, Renois’s versatility shines in various display applications, whether it’s for posters, banners, or promotional materials. This typeface seamlessly adapts to your design needs, making a bold and impactful statement in any context. In Conclusion In summary, Renois – Display Sans Serif is the font of choice when you need to make a powerful and clear statement in your displays. Elevate your designs with Renois, ensuring your message rises above the noise, leaving an indelible and memorable impact on your audience.

Heading Now is the new incarnation of Heading Pro, developing the original typeface family designed by Francesco Canovaro for Zetafonts into a superfamily with 160 variant combinations. Built around 10 different widths, ranging from ultra-compressed to ultra-wide, and eight weights from thin to heavy, Heading Now provides a full spectrum of sans serif type solutions to your design problems. Born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. In these widths Heading Now excels in titles and subheadings, timetables, infographics and in situations of exuberant and excessive copywriting. On the other side of the width spectrum, you can find extended width variants, ready to be used for titling where style and energy matter more than pixel or paper economy. Heading family is not only made of extreme widths: you can use the medium width range to design body text. Matching italics provide versatility in text use, as well as a dynamic display alternate to the bolder weights. Heading Now keeps the original design of Heading, but extends the width and weight range while keeping its (post) modernist attention to readability and details. Each Heading Now font includes over 1100 characters with coverage for 200+ languages using Latin, Cyrillic and Greek alphabets. A full array of open-type features is included in each weight featuring also stylistic alternates, small caps, old-style and tabular numerals and positional figures. • Suggested uses: born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. Perfect for contemporary branding, web design, packaging and countless other projects; • 162 styles: 8 weights + 8 italics x 10 different widths + 2 variable fonts; • 1100 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

This font is not just historic, but classy, timeless, and in its current form, a modern classic. The original Titling Caps and icons Jacque François Rosart painstakingly carved, now meticulously digitized to be a true, accurate, and complete representation of the original designs. You can get the fully matching family with "ALL", or choose the set that meets your immediate needs: Zodiac and Constellations - The Stars Have Aligned into a Great Font So what's your sign? Whatever it is, R&F has it, and in so many ways! Pictograph, symbol, constellation and picto-constellation are all included. Constellations are useable even in scientific and education settings: based on current star charts and matched to Bayer designations, these stars shine both in design and accuracy! Includes Rosart's original moon and sun faces. Faces for the planets to match those for the sun and moon. Rosart's symbols for the planets. Astrology symbols including, Rosart’s pictographs for the twelve signs. Constellations of the Zodiac from precise star charts. Precise small star shapes, so you can design other constellations. Pinwheel, saltires, asterisks, solid stars, and even the Christmas star. Dave Lawrence, "Each symbol was carefully designed to match the main font." Alchemy Symbols - Turns A Design into Gold From labeling your cupboard of magical ingredients to getting one step closer to the golden goose, these rare alchemical symbols are a treasure trove of possibilities. Including: classic symbols for elements combinations medicinals chemistry mathematical symbols Includes music symbols for titling, as well as Verse and Response symbols. Seasons - Symbols to Keep Things Organized Throughout the Year Classic weather stylings, including old fashioned lightning and an eclipsing moon with the four-o'clock shadow. Map Markers Religious Symbols Phases of the moon. Pointing symbols: fingers, arrows, triangles, with circles Matching Italics CAL's Dimension Slant™ Instead of sloping all the pictures and drawings to an even slant, a multidimensional approach was used. And each symbol was evaluated and crafted individually. Pro World1 Font The pro world font contains all of these: Latin Standard set Rosart's original backwards X alternate. Alternate U shape. In the italic: swash variants for the J, Q, and Y. Proportional Lining (default), proportional old style, small caps figures. CAL Dimension Slant, for dynamic italics Includes Rosart's original moon and sun faces, along with additional faces for each planet. Rosart’s symbols for the planets and pictographs for the twelve signs of the zodiac. Constellations of the Zodiac along with small star shapes. Large stars, pinwheel, saltires, asterisks Symbols for chemistry Medicine Music symbols Mathematical symbols Pointing symbols like the finger, acorn, arrow and triangle. Geometrical shapes. Plus these more: Latin Pro character set for central European languages and Turkish. Rare kerns for Polish, Czech, Slovakian and others. Ligatures needed for some central European orthographies. Lowered German Umlauts for better line spacing. Cyrillic uppercase and small caps for eastern Europe, southern Europe, and Russia, with kerning. Rosart’s original Greek uppercase and small caps, but also tonos for monotonic Greek. Vietnamese, which has been kerned. Pinyin, including a special form of the Ü so that titles can be set closer. Numbers: A set of stacking (nut) fractions, along with very elegant automatic fractions A large set of currency symbols in lining, old style, small caps, denominator and numerator sizes. Our first Retail Pricing Feature: (ss03 + ss04) Just turn on the feature and type $1.99 and Rosart will do the rest. Ampersand alternates. Numerator sized musical sharp and flat symbols. Dave Lawrence, “From the moment I saw these letters I knew I had to make this typeface. What I didn’t know was that I would end up drawing most of Rosart’s special symbols... But it was too hard to resist."

Get in touch with Tipogra Fio and get inspired by Guaruja Neue specimens. Guaruja Neue is a neo-grotesque typeface with additional industrial traits to it, such as open corners in diagonal glyphs and short curves. The semi-cursive italics shapes, more than an orthographic matter, give sea waves for the headlines and copies that Guaruja Neue will compose, since it is named after a city on the coast of São Paulo, Brazil. Stylistic alternates, ligatures, ordinals, arrows and emojis give extra personality for texts that cross millennial and modernist concepts, going from a comprehensive Latin script, including Vietnamese support, until a basic Cyrillic set. Brazilian music tells the graphic story of Guaruja Neue specimens, songs that speak about beaches and the city of Guarujá, as well as the inspiration of 50’s and 60’s modernist design and the music movement of Bossa Nova. This family is also an evolution of Guaruja Grotesk (2021), a typeface with four fonts —Regular, Italic, Bold and Bold Italic— developed as part of a design school project, that now in Neue gains professionalism, refinement and knowledge. Guaruja Grotesk took 18 months to make, and Neue took additional 12 months of redrawing and rethinking, as design as processes. Part of the project got feedback from the typeface designer Ulrike Raush, under the Alphabettes mentorship program. Overview and features: 8 weights and 8 italics; 2 free fonts: Guaruja Neue Regular and Guaruja Neue Italic; Extended Latin and basic Cyrillic; 800+ glyphs; Numbers: proportional, tabular, superscripts, subscripts, denominators, numerators and fractions; Greek for math; Case-Sensitive forms; Arrows; Standard and discretionary ligatures; SS01: one story a and SS02: two story g; Emojis and SS03: negative alternate emojis; Ligatures for English ordinals;

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

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.

Milan-based Leftloft studio developed LFT Iro Sans, an expansive family that solves the significant, wide-ranging challenges of branding, wayfinding, pictographic language, and complex editorial use. LFT Iro Sans began as the clear and welcoming wayfinding project of San Siro stadium in Milan. Over time many other styles and weights have been added. LFT Iro Sans never finds itself outmatched by the task at hand. The primary aim was to design a technical typeface that was readable in any low visibility condition, for instance in a poorly lit area with awkward wall shapes and overhangs. This worked well for stadium and large lettering use, but other problems also needed to be addressed, such as complementary iconography. A location developer was left mixing — clashing, really — one type family with a different family of icons, resulting in a cobbled-together look which diluted the brand and the experience. They set out to radically simplify and clarify each shape and its meaning, accepting uniqueness as part of the final visual language. LFT Iro Sans pictograms answers the need for having a consistent and large group of icons, perfectly suited to the text typeface. As it concerns public spaces, this didn’t exist before. LFT Iro Sans incorporated a branding project too, so they decided to let LFT Iro Sans go out on a limb and created a unicase style that demands attention. Each unicase letter is a combination of the lowercase and capital form, quite noticeable in the ‘i’, ‘m’, ‘t’, and unique ‘d’ and ‘b’, balanced by more restrained forms of ‘a’, ‘s’, ‘c’, and ‘e’. LFT Iro Sans is not only a technical typeface, but, thanks to letters’ proportions, can also be used for editorial purposes. Assertive and economical in stature, the text weights are clear and assured. And a display version for headlines in Ultralight and Heavy (with italics) was developed for stunning headlines. For enthusiasts of every stripe, LFT Iro Sans can be a brand’s rallying cry with its arresting unicase, be a developer’s go-to pictogram choice, or set the most demanding editorial text in digital or print. With its many OpenType features, simplified pictogram commands (even available in Apple’s Pages and Microsoft Word), and a total of 30 targeted family members, LFT Iro Sans is a brilliant, easy choice. As with the rest of the TypeTogether catalogue, the complete LFT Iro Sans family, designed by Lefloft and developed by Octavio Pardo, has been optimised for today’s varied screen uses.

Useful links: TT Supermolot Neue PDF Type Specimen TT Supermolot Neue graphic presentation at Behance Looking for a custom version of TT Supermolot Neue? TT Supermolot Neue is a redesigned, extended and greatly enhanced reincarnation of the popular TT Supermolot and TT Supermolot Condensed font families. During its existence, the hammers (‘molot’ in Russian) managed to get into the spotlight in a huge number of projects, for example, in popular video games, films, and branding. Despite its popularity, the limited composition of old families put boundaries their development, which prompted us to release a completely redesigned and greatly extended version. And while the old families could offer designers only a limited number of tools, in the new version you can already find 54 fonts, and each individual font now consists of more than 620 glyphs. First, we have added a completely new subfamily, TT Supermolot Neue Extended. But this is only the tip of the iceberg—in order to achieve visual harmony between the three subfamilies, we completely revised the distribution of widths among them. As a result of this work, the width of the TT Supermolot Neue Basic subfamily became a bit narrower, and the width of the TT Supermolot Neue Condensed subfamily became even narrower than it was in the old version. Secondly, we’ve increased the number of weights. While in the old versions there were only 5 weights, in the new ones there are 9 in each of the subfamilies. In addition, we gave a facelift to the lowercase and uppercase letters. In TT Supermolot Neue, the design of all controversial grapheme forms was soothed and now the family can also be used in the text set. We have completely redrawn italics. It took us half a year to compensate for all the circles, to transform italic strokes, to work out the position of the diacritics, to make right the spacing, and to finish kerning. Following a good tradition, in the TT Supermolot Neue extensive support for useful OpenType features was added, and hinting was also improved. If we talk about visual features, we recommend paying closer attention to two stylistic sets: the first set (ss01) is designed to make the typeface more humanist, and when you turn on the second set (ss02), the typeface becomes even more technological. In addition, the typeface has more than 26 items of standard and discretionary ligatures. We also have not forgotten about the figures and we added a set of old-style figures to the standard version. In addition, the typeface has case, ordn, frac, sups, sinf, numr, dnom, onum, tnum, lnum, pnum, calt, liga, dlig, salt, ss01, ss02.

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Introducing the unique family of COLORED fonts "Boldini" with minimalistic clean letters of a harmonious form in the style of modern POP culture. You no longer need to adjust the gradient for each letter, letters are immediately printed in gradient! Gradient fonts is perfect for headlines for fashion websites, magazines, and print design, and the basic solid font is suitable for branding boutique signs as well as for large amounts of text, because the font is very readable in a small size. Font family has two thicknesses - bold & regular, 6 gradient directions, gradient fonts also 2 type - with transparency and without transparency, as well as 2 basic monochrome fonts. Font consists of letters of the same height without division into uppercase and lowercase glyphs. *See also these fonts, which based on this family: Culoare & Anaglyph. Which means that if necessary you can combine these families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Such color combinations in gradients are universal and very convenient for repainting. IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. Try to experiment, it is so interesting and very easy! ld.luxfont@gmail.com

Introducing TT Norms® Pro, version 3.200! The updated font now supports more languages and boasts a larger character set. These implementations have made the typeface even more advanced and convenient. TT Norms® Pro is a functional geometric sans serif for aesthetic design choices and TypeType studio's bestseller. It has been a massive success since its release, and rightfully so! This stylish, elegant, and versatile font will become the full-fledged core of your collection. TT Norms® Pro is ideally suited for products in any domain: streaming services, banking, clothing brands, or the automotive industry. It's equally convenient to use in both web and printing. Now, the TT Norms® Pro typeface includes the most extensive font package, both in terms of font styles and character sets. The base version of TT Norms® Pro consists of 22 fully redesigned font styles and 4 additional subfamilies. Besides, this font boasts the most comprehensive language support in the TypeType collection. We've added the characters of extended Cyrillic and Latin writing systems to the updated TT Norms® Pro and configured the new languages support. The character set has become more extensive—we've added currency symbols with their minuscule version and minuscule mathematical symbols. The 3.200 version of TT Norms® Pro includes: 44 roman font styles, 44 italics, and 2 variable fonts; 7 roman and 7 italic font styles in TT Norms® Pro Mono; 2 variable fonts: TT Norms® Pro Variable with three parameters of variation (weight, width, and slant) and TT Norms® Pro Mono Variable with weight and slope axes of variation; 1993 characters in each font style, including an extended set of punctuation marks, symbols, and currencies; 5 widths: TT Norms® Pro with classic proportions, monospaced TT Norms® Pro Mono, narrower-proportioned TT Norms® Pro Compact and TT Norms® Pro Condensed, and wider TT Norms® Pro Expanded; 38 OpenType features, including a large number of ligatures, fractions, numerators, and denominators; 17 stylistic sets; - 280+ languages support, counting in new symbols for French, Norwegian, Bulgarian, Uzbek, Abkhaz, and more; Flawless kerning and manual TrueType hinting. TT Norms® Pro has already become the signature font of Intercom, Inc., Sartorius AG, CSN, CBSN, Shieldex, and many other global brands. Customization is available for TT Norms® Pro upon request—we adjust the font to suit your project. Learn more about customization options in the corresponding website section. In addition to the TT Norms® Pro, we've designed the TT Norms® Pro Serif typeface. These fonts complement each other perfectly, making an ideal typeface pair.