Update November 2022: ULGA Grid now features an oblique variant. It’s also been expanded into a family of different but related designs with the addition of ULGA Grid Solid and ULGA Grid Rounded typeface families. All variants and new designs are monospaced, sharing the same width as the original ULGA Grid font and matching character sets. The character set has also been enlarged and now supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian. ULGA Grid is a modular, monospaced typeface reminiscent of the old Letraset LCD & Quartz typefaces from the 1970/80s with lots of alternative characters and ornaments to bring a fresh twist to the genre. The idea’s seed germinated while I was going through a phase of binge watching my favourite 1980/90s sci-fi movies (classics such as Terminator, Total Recall and RoboCop). However, perception and reality don’t always align. Thirty years later, when compared to today’s technology, some visual elements look kind of outdated, almost Retro Futuristic. The initial design process started out in Adobe Illustrator when I constructed letters from a few geometric shapes within a square block. Just playing around with different shapes was so engrossing that it wasn’t long before there were enough characters for a basic typeface. The project grew again as I experimented with designs within the shapes and set paragraphs of text in patterns, resulting in over a hundred alternative characters and ornaments, some of which double up as border designs. This typeface may be square but it’s anything but boring. What it lacks in legibility ULGA Grid makes up for in style and the end result is a surprisingly versatile typeface that you'll have fun using for a wide range of display purposes including CD covers, posters, packaging, advertising, brochures and film titles. Ironically, the fixed grid structure frees the characters to create patterns of text not possible with variable widths.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Ashemore developed as a result of my visits to Barcelona, Spain and to Germany, followed soon after by a visit to Asheville, North Carolina. Blending the styles of art and architecture from these three areas may seem initially to result in an unusual formula, but the distinct and flamboyant style of Art Nouveau and the Arts and Crafts style combined with the more strict rules of a sans serif transfer well into a beautiful and very usable blend of these individually eccentric forms. The resulting font retains the Art Nouveau and Craftsman style flavors, which shine through the typeface despite its geometric base. One of the font’s defining characteristics is the unique terminators of its C, G and S. This face’s texture and rhythm also moves well in longer texts. These and other features give Ashemore a restrained bohemian vibe that seems particularly appropriate for a coffee house or an art gallery. The Ashemore family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.

Adelphi is a geometric sans, redefined for the northern side of the English Channel. Typographic modernism was a late arrival in Britain — due partly to the Second World War and to the strong local type tradition. This delay provided for fruitful divergence, thus modernism was not adored in quite the same way as it had been in Germany and central Europe. It was instead rethought and repurposed against the backdrop of the bleak British weather and postwar social reform – a continental fashion statement reshaped into a more humanist variant. Likewise, when crafting Adelphi, Nick Job reimagined the constraints that defined the geometric sans as a genre. Whereas other typefaces seem overly bound by the rules, Adelphi feels relaxed and approachable. Elementary square and circular shapes are merely implied. A keen observer may notice that the uncomplicated letterforms occasionally reveal a subtle naïveté associated with early Grotesques. Brunel’s bridges and Harry Beck’s tube map spring to mind alongside the Bauhaus and Futura. But Adelphi is by no means nostalgic! It is a contemporary, comprehensive, and durable system with a pragmatic set of features. These include a wide array of weights, ‘uniwidth italics’, and variable extenders that go from tall and flat in Adelphi Text to short and sharp in Adelphi Display, with default Adelphi standing midway between these two extremes. You can set the extenders to your preference in the all-inclusive variable font or use one of the three static fonts that come packed together, priced as a single font. The pan-European support for Latin, Cyrillic and Greek scripts already makes for a vast character set, but Adelphi takes things a step further by including alternate glyphs to satisfy the DIN1450 legibility norm, a range of ordinals that can be used to create specialist compositions in all three scripts and two kinds of fractions and arrows. Play with the alternates or use it as-is. Either way, this understated beauty will carry you through.

Crox™ is a sans-serif professional typeface inspired by crude geometry, creativity, and art. In the font family, there are 19 styles, including upright and italic, It is constructed of big lowercase letters with a maximum x-height for excellent optical reading. English letters are supported as a numerator and denominator set, this feature may aid in the creation of fractions using letters and numbers, as well as for sophisticated scripting and various scientific fractions forms. All weights support over 25 professional OpenType features within each style, with extensive coverage of western languages. These features were originally planned for personal and professional use, including multi-alternative characters in Styles: 1, 2, 4, 10, 11. Operational styles 6, 7 are enhanced with some scientific forms, to write the fit derived (SI units' expressions). Otherwise, it supports a wide range of professional factory pricing styles for business and marketing, as well as retail pricing styles in Sets 5, 8, and 9, with ligatures, old-style numerals, ordinals, swashes... Crox™ is enhanced with a poster weight like the fantastical type to fulfill your creative needs in three styles: poster, poster oblique, and poster italic for ADS and web design, branding, or product design. Glyphs: More than 970 glyphs, including those accessible with OpenType features. Powerful OpenType features: Standard Ligature, Alternate access, Automatic ordinals (English, French...), Case sensitive, localized forms, Numerator set, Denominator set, Subscript, Superscript, Swash, Stylistic alternate, Styles 1,2,3,4,5(Pricing style 1), 6(Derived Units),7(Advanced Fractions for Scientific units, Derived Units Vulgar Form), Set 8 (Pricing Style 2), Set (Pricing Style 3), Proportional Old-style, Tabular Old-style, Proportional Lining, Tabular Lining, Zero with slash, Fractions (Default, Automatic). Suitable for: logo and modern branding, web design, packaging, Product packaging, Articles, scientific document, Product user guides, multiple works in the Media, Design, ADS... Specimen Crox™ is a trademark of Yassine Abdi.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

What's Included : • Ligatures • Works for PC and Mac • Simple installation • 7 styles: 1 undistressed, 6 distressed • 500+ glyphs in each type • More than 75 languages are supported, including extended Latin. • Each style includes 12 OpenType features, including stylistic alternatives, ligatures, old-fashioned figures, and other helpful elements. • Two different swash ending varieties. • Non connected forms • All connected forms, including caps • Randomly selected character forms for organic looking textures. Sophima exudes languorous luxury. The writing glides around, changing elevation above and below the standard x-height, giving it a lively and raucous vibe. Sophima is designed for 3D printing. I required a contemporary script with technical elements that could be printed using a 3D printer. This necessitates the use of quite thick linking characters. Another result of this technology was the need that all letters, including caps, be linked. Such letters are included in optional Opentype style sets. The unusual technological limitation gave the design a new and distinct vibe. Sophima may be used for a variety of purposes, including headlines, weddings, social media, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signage, gift/post cards, cafés, and weddings. Designers have a plethora of alternatives from which to pick, giving them greater variety, power, and creative flexibility. Automatic ligatures for best character connections are supplied, as are alternate ending characters that appear at the end of words that lack connectors or have lengthy swash endings. Sophima is made up of five fonts: one standard and five texture variants that change the tone of the typeface. Each design has 500 characters and is available in more than 75 languages. The typeface has 15 OpenType features, such as stylistic alternates that change the look of characters, ligatures, and more. Constraints and a desire to solve challenges breed the finest creativity. And there's no question that Sophima came up with a solution to the situation. Now use Sophima to create your own designs.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh quality that, once developed, turned out to be perfect for Jelesijevic’s project. After its first use, however, Nova Lineta lay dormant for over a year. Other projects came and went, and new typeface ideas filled Jelesijevic’s notebook. Although Nova Lineta continued to tickle the creative crevices of his mind, no more work was done on the face. Then, in a period between projects, Jelesijevic began to polish the design – and, in the process, created extended and condensed versions to complement the normally-proportioned original. Born in Gornji Milanovac, Serbia in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in Belgrade. These days, Jelesijevic is sought out not only as a typeface designer, but also as a graphic designer and illustrator. When not working on design projects, he teaches graphic communication at the Faculty of Art in Niš, Serbia. Although it is a casual and inviting design, Nova Lineta has been carefully constructed and refined. As a result, it performs exceptionally well within a wide range of sizes and in a wealth of applications. An ample x-height, open counters and distinctive character shapes also ensure a high level of legibility. And, although at first glance Nova Lineta may appear to be a sans serif design, subtle serifs make their presence known at large sizes. Nova Lineta emanates warmth when used for extensive text, and it has a fresh quality at display sizes. The small family’s range of proportions also provides added flexibility. The result is a friendly yet powerful communication tool in a remarkably modestly-sized package.

Introducing Fenwick—a typeface that pays homage to Ontario’s rich heritage. With its unique take on late-nineteenth-century sans-serif typefaces, Fenwick is a perfect addition to any vintage-themed graphic design project. At first glance, Fenwick may resemble old-fashioned gothic typefaces, but upon closer inspection, you’ll notice its inspiration from once-popular serif display fonts and elegant clock digits. Fenwick’s unique design blends the best of both worlds, resulting in a timeless font that captures the essence of a bygone era. For added authenticity, Fenwick features proportional old-style numerals that can be easily accessed in OpenType-friendly applications. The typeface is available in Light, Light-Italic, Regular, Italic, Bold, Bold-Italic, and an engraved all-caps style, giving you the flexibility to use Fenwick in a variety of contexts. Whether you’re designing a vintage-inspired logo or creating a custom poster, Fenwick is the perfect typeface to add a touch of Ontario’s heritage to your project. So why not give Fenwick a try and see how it can elevate your designs to new heights? 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.

I thought that "Anyway cute fonts!", Fancy fonts with pops decorated gorgeous cute illustrations. I tried dressed on the letters as well as wearing my favorite clothes when going out. Although it is lacking in readability, I think whether it is fun to use colors or use them pointwise. Since the decoration is different each character, animals are found in various places, ribbons, hearts, and foods are decorated, so it may be interesting to see it one character at a time. It would be greatly appreciated if you use it, or who looked at it could feel a little happy. ＜「おめかしふぉんとPro」紹介文＞ 「とにかくかわいいフォントを！」と思って、文字をかわいいイラストでごてごて派手に飾ったポップでファンシーなフォントです。 お出かけの際にお気に入りの服を着ておめかしをするように、文字にもおめかしをしてみました。 可読性には欠けますが、色を塗ってみたりポイント的に使うと面白いかと思います。 一文字ずつ装飾が違っており、色んなところに動物がいたりリボンやハート、食べ物でデコレーションされているので、一文字ずつ見るのも面白いかもしれません。 使ってくださる方、見てくださる方が少しでも幸せな気分になれれば幸いです。 ＜スタイルカテゴリー＞ ファンシー、装飾

In a world full of conventional typefaces, Tussilago stands out with its sturdy and extended sans-serif design that defies standard geometric models. This mid-twentieth-century typeface exudes a distinct personality that speaks volumes through its wide letterforms and unique details. Tussilago’s robust letterforms offer a cool-headed but unabashed voice of power that can elevate any message. Whether you’re designing a poster, a logo, or a website, Tussilago’s seven weights and italics will provide you with the perfect blend of sophistication and modernity. But that’s not all. Tussilago’s versatility is evident in its offering of two numeral options—lowercase (old-style) or lining—for each weight and style. This feature makes Tussilago an excellent choice for any project where numbers play a crucial role. With Tussilago, you’re not just choosing a typeface; you’re choosing a design that speaks to your audience with an erudite voice. So, whether you want to make a bold statement or convey a subtle message, Tussilago is the perfect choice for designers who want to stand out from the crowd. 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.

Font Etruria is based on a real Etruscan inscriptions and realistic accurately simulates the writing of the Etruscans. The idea of the font Etruria is to give an opportunity for anyone to touch the past of mankind! The character of the Etruscan alphabet involves the creation of a font with only uppercase letters. However, I did not limit this font by that. Etruria has not only a lowercase is different from uppercase, but an additional sets of alternative characters. In General, the main characteristic of Etruscan writing is randomness and diversity of characters. Differs from lowercase to uppercase is only the first step on the road to make randomness effect. Next to the aid of the OT features. To recreate the randomness effect, in Etruria there are several OT features (Contextual Alternates, Stylistic Alternates and Stylistic Sets), which built a script to simulate randomness. Additionally, another script creates the effect of random positioning. Together they create incredibly realistic Etruscan inscription. Thus, any of these features can be disabled at will. I also used a small line spacing, because it is characteristic of the Etruscan writing. Actually the Etruscan writings is a mirror of the writings compared with the current European alphabets. I didn't use this feature all the letters, because this would make the font difficult to perceive, but to make the font characteristic of the Etruscan style, Etruria has a few letters in mirror image. However, if for someone it may seem unusual, mirrored letters can be disabled instead of them will appear more familiar to them. Another feature of Etruscan writing is the use instead of a space dotacentered. Font Etruria has this feature, there is a OT feature Stylistic set ss03. Naturally, it also can optionally be disabled. All these features can be used together, separately, or turn it off. The main goal achieved! The text typed in Etruria, creates full impression of these Etruscan inscriptions.

Welcome to the world of Chromakey, a futuristic headline typeface that takes inspiration from classic video game box art. Our unique font is the perfect blend of sci-fi jagged lines and old-school Art Deco, giving you a distinct aesthetic style to deliver your message in an angular fashion. At first glance, Chromakey may seem like an unusual choice for your design needs, but that’s exactly what makes it so special. It stands out in a sea of bland typography, catching the eye of anyone who passes by. It’s bold, it’s edgy, and it demands attention. Whether you’re promoting a new product, creating an eye-catching poster, or designing a logo, Chromakey is the perfect choice. With its space-age design, it’s perfect for anything related to technology, science fiction, or the future. Don’t settle for boring fonts that blend in with the crowd. Choose Chromakey and make a statement with your designs. Try it out today and see how this unique typeface can take your designs to the next level. 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.

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

ATTENTION! See the newest version of Reina here. Reina Neue is now a family of 45 styles and it's also a Variable Font! Have a look. For the traditional version of Reina, you may stay here ;) --- Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide . Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe , Reina was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. TECHNICAL Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.

Located in the Valencian Community, Spain, Manises is very famous for its pottery. In the Middle Ages and the Renaissance, Manises was the most important production center for Spanish-Moresca ceramics, which was exported throughout Europe. At the beginning of the 16th century, Manises tiles were very commercially successful, especially of the heraldic type. Much appreciated by the Aragonese crown, Manises ceramics was also exported to France, Italy, and especially to Naples. As a big fan of Paterna and Manises ceramics, Naples influenced other Italian courts. Calixto III and Alejandro VI continuously commissioned Valencian pieces and tiles for the halls of the Vatican. The export also extended to Sicily, Venice, Turkey, Cyprus and even Flanders and the Baltic countries. The palaces of all the courts of Europe were enriched with this art. Many painters reproduced it in his paintings. It can be seen in the work of Hubert and Jan Van Eyck, and in the central panel of a triptych by Hugo Van der Goes (Uffizi Gallery, Florence). In this city there are also some frescoes by Domenico Ghirlandaio in which the Arabic-Valencian earthenware appears. Manises font is inspired by a text written on a 16th century tile, but adapting it to our times and giving it a very modern air. It is characterised by being able to combine uppercase and lowercase letters in a conventional manner, or use only capitals, or only lowercase letters, or, a random combination of both. It comes with an extra of many ligatures, stylistic alternates, and a set of very useful catchwords, to give more modernity to your text. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Manises looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, children's material, in ink or water-colour based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds!

Are you tired of flimsy typefaces that can’t stand up to the rigors of modern design warfare? Then it’s time to enlist in the Tank army! Tank is a typeface that means business. With its heavy letterforms and industrial appearance, it commands attention and demands respect. The tight spacing and lack of negative space give it a robust precision that other typefaces can only dream of. It’s the perfect weapon for delivering a knockout blow with bold color blocks or as a photo cut-out effect. And don’t let the name fool you—this typeface may be called Tank, but it’s far from slow or clunky. It comes in a large Regular style that will leave your competitors in the dust, an ironically titled Light version that still packs a punch, and a pair of oblique styles that add a dynamic twist to your designs. So what are you waiting for? Show the world that you mean business with the heavy headline artillery of Tank. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

Well lookee here: an authentically distressed "rough" version of our best-selling Cornhusker font! Standing tall as an Illinois cornfield in September, Cornhusker Rough is a faux-printed, condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & inky characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Rough is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Rough includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. Please note: Cornhusker Rough features a highly detailed, realistic inkplate texture. This font may render slowly in some applications. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

OpenBookING is a gimmick or novelty font that has letters on pages of a book. It is caps only and monospaced. The letters on the upper-case keys are on the left-handed pages of an open book and the letters on the lower-case keys are the same letters but on the right-handed pages of an open book. One could alternate upper and lower case keys to get letters on complete books, but the Opentype feature of contextual alternatives (calt) does this automatically. Several previous typefaces from IngrimayneType used the calt feature to alternate shapes that fit together in an interlocking pattern, such as alternating concave and convex shapes. OpenBookING uses the calt feature in a different way, to alternate two halves of a symmetrical shape. To provide two copies of numbers and common symbols, some non-alphabetical characters are unavailable because their slots were taken by the second form of the number or common symbol. If stylistic set one (ss01) is turned on, spaces are replaced with empty pages. This may leave you with unwanted spaces at the end of lines, and to eliminate them, turn off the feature (or change the font) for these spaces. The empty pages can be used in a layer to add color to the text. There is also a second set of empty pages with a filled page that can also be used in layers. (See poster for examples.) These pages are on the (logicalnot multiply) and (register divide) characters for the first set and on the (ordmasculine ellipsis) and (macron trademark) keys for the second set. Finally, OpenBookING has a large set of accented characters if anyone should need them. The letters used on the books were derived from the font Myhota-Bold. For a related typeface of letters on book covers, see NewLibrary. OpenBookING has limited uses and is priced accordingly.

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

Step into the future of typography with Cybermontage, a postmodern display typeface that channels the electric energy of the 80s and 90s. This font brings a fresh take on the retro typographic trend with its eclectic mix of campy colors, clean geometric shapes, torn paper edges, faux finishes, and kitschy patterns. Cybermontage is not your average typeface—it’s a work of art that uses OpenType technology to create a pseudorandomized effect by shuffling several variations of glyphs. Don’t worry if your application doesn’t support OpenType, you can access all the character variations from the Unicode Private Use Area (PUA) encoding. Get ready for a typographic adventure with Cybermontage. The character interconnection can get pretty wild, so if your application supports optical kerning, you may want to activate it. Whether you’re designing a bold headline, a retro poster or a quirky logo, Cybermontage will take your design to the next level. Join the postmodern revolution and make your designs stand out with Cybermontage, the font that defies convention and unleashes creativity. 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.

“Safety first!” claimed the sign. The janitor huffed, and continued mopping up the nuclear sludge from the floorboards. Just another day in the wasteland. Industrial Spill is available in three destructive styles: - Regular (great for those warning signs that everyone ignores when rummaging for salvage) - Ooze (reminds you to always clean up after contaminated muck covers the floor) - Wasteland (gives that wonderful feel of wandering around a desolate landscape) Please note that Industrial Spill Wasteland is highly detailed, realistic texturing. It may render slowly in older applications. Each font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Stylistic Opentype Alternates to avoid letter crashing - Punctuation shifts in All-Caps scenarios for better placement - Western Europe language support Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

Get ready to boogie down with Tight, the typeface that channels the groovy vibes of vintage tee shirt lettering. Inspired by the iconic disco era of the mid to late 1970s, Tight is the perfect way to celebrate those dancing days. Our retro disco t-shirt typeface is based on old, worn-out samples of Dean Morris’ Quicksilver, the Helvetica of disco. With its misaligned characters and distressed texture, Tight captures the spirit of the era in all its glory. To achieve an even more authentic look, Tight features custom letter pairs that mimic the way real vintage tees looked. And with OpenType-savvy programs, you can swap out certain letter combinations to achieve the perfect look. Just be sure to turn off the “standard ligatures” function to disable the effect and get that true vintage feel. So whether you’re designing a poster for a disco-themed party, creating a retro-inspired logo, or just looking to add some funk to your designs, Tight is the typeface for you. 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.

The Brazzari Pro AOE is an unusual but fun geometric typestyle design. It is the historical revival and elaboration of the "Bizarre" typeface created by MacKellar, Smiths, & Jordan Co. in 1884. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Definitely a niché use typeface, however, it has some great appeal. The letterforms of Brazarri Pro AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs. WHAT'S INCLUDED: Enable the Stylistic Alternates feature for standardized letterforms without the extensions. Extensive language support. Invocation has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, and expand on their character sets to enable them to be used more widely than their limited originals. A lot of incredible historical typestyles created as wood or metal type with bare bones character sets have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.