Zin Sans is a contemporary sans-serif typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balance between neutral construction of letters (strictly vertical axis) and dynamic open forms (opened terminals). Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Each font includes small capitals, old-style and tabular figures, standard and discretionary ligatures, alternate glyphs and a many of typographic options applied by the Opentype features. Zin Sans can be effectively used for both text and display typesetting. It can be used especially in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Sans is a member of the Zin type system, which also includes Zin Slab, Zin Serif and Zin Display fonts. You can try Demo styles in Medium weight fully for free.

Hello, friends! I have a good news! At last I have finished working on my Antique Initials color font. Wow! It was a long and hard work because every initial is unique. I sketched each letter of the font very scrupulously from scratch. Each letter is uniquely designed and has a unique flower pattern in the background. I used a pale old color palette to color these letters. There came out two font variants: a black and white and a nice colored one. The font contains initials from A to Z (26 characters, lowercase glyphs are same). I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Please request to add additional characters and glyphs if you need! Thank you! You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only. Please note that the Canva do not support color fonts!

Absurdies is a trilogy of pictorial typefaces with lots of mischief, fun, weirdness, black humour and amusement. It includes 143 digitized illustrations. You will find many inexplicable behaviours, madmen, strange occupations, absurd and chaos-loving characters, and general whimsy. This little crowd can be used in many ways, from spot illustration to big illustration work or graphic designs, taking advantage of the vectorial format of the font file. The characters in Absurdies (together with their kin, the Illustries, Whimsies, Ombres, Bizarries and Genteta dingbats) are drawings from the sketchpad of Joan M. Mas, drawn from imagination and with no reference, except in a handful of cases pulled from historical photography. He wanted an easy-to-use format to collect his hundreds of imaginary ink drawings and he realized a digital typeface was an ideal solution. Having the illustrations gathered in a font file means you can use them instantly in any program you like. You may choose to use the images out of the box, or further customize them with colours and textures. The possibilities are endless.

Precious Sans Two is a complete reworking of the 2002 design which was only ever available in PostScript format. Over a decade later G-Type’s Nick Cooke decided to re-appraise the typeface, scrutinise the old letterforms and overhaul the family. Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and improved. Precious Sans Two is now in cross-platform compatible OpenType format with extended Latin language support for Western & Central Europe, the Baltics & Turkey. The original quirkier glyphs (f, g, I) have been retained as an OT style set feature and the typeface now contains small caps and an extensive set of discretionary ligatures as well as both proportional & tabular figures. The character set is further enhanced with the addition of 20 directional single and double arrows in each of the six weights which range from Thin through to Black, all with accompanying italics. Precious Sans Two is a distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.

Grogie font family consists of 06 families,is a high-contrast typography inspired by transitional and contemporary typography. Fonts extend their use by giving weights ranging from thin to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. Featuring beautiful, excellent weight and extensive language support. The elegant modern font creates a unique design and is sure to steal the eye of the design target audience. Besides being unique, the Grogie font also has a luxury simple character that makes the design charming and luxurious. Grogie excels in display settings such as headlines, titles, branding projects, Logo design, packaging, magazine headings, advertising, short or long text. Grogie Features: Multilanguange PUA Encoded Alternates Ligatures. Open Type LatPro To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. If you need help, please contact me :)

"Seen" is the name of the gods in Kingdom of Hadhramaut 3,000 years ago Kingdom of Hadhramaut - Wikipedia "Seen" Font Family Will Add a Splash Of Historical Musnad writing To Your Designs Coming in 4 Styles: Regular,Medium,Bold and Black, "Seen" Font Family is a serif typeface designed by Sultan Maqtari. Each style of the font is incredible in its own way, with attractive curves, spacing, and ligatures. Ideal for bold headlines, short sentences, unique logos, and general graphics, this typeface will effortlessly add a hint of Musnad writing and a splash of Amazing past to any design. "سين" اسم آلهة في مملكة حضرموت قبل ٣٠٠٠ عام ستضيف مجموعة خطوط "سين" لمسة من كتابات المسند التاريخية إلى تصاميمك. تأتي عائلة الخطوط "سين" بأربعة أنماط: عادي،متوسط،عريض واسود ، وهي عبارة عن خط مزخرف صممه سلطان المقطري. كل نمط من الخط لا يصدق بطريقته الخاصة ، مع منحنيات جذابة ، ومسافات ، ووصلة ربط. مثالي للعناوين العريضة والجمل القصيرة والشعارات الفريدة والرسومات العامة ، سيضيف هذا الخط دون عناء لمسة من كتابة المسند ونفحة من الماضي المذهل إلى أي تصميم.

*Mont Specimen: http://bit.ly/montsp *Scroll down for the FREE DEMO fonts Features: • 744 glyphs in 20 styles; • Extended Latin, Cyrillic and Greek; • Perfect for headlines and logos; • Prominent x-height; • Distinctive pointed triangular bracketed “t”; • Coverage of multiple OpenType features; • Suitable for web, print, motion graphics etc. Mont is a geometric sans serif consisting of 10 weights ranging from Hairline to Black with matching italics. It supports Extended Latin, Cyrillic and Greek — more than 130 languages all together. The balanced characteristic of Mont with unique details, such as the pointed “t” and the prominent x-height makes it perfect for strong headlines and outstanding logos, but also suitable for long text. Mont comes with a range of OpenType features — including tabular figures, advanced typographic features such as ligatures, fractions, case-sensitive forms, superscripts, subscripts etc. The typefaceʼs versatility and merits make it easy to confront any graphic design challenge — web, print, motion graphics etc. Up with Mont to the top and beyond!Mont™ Font Field Guide including best practices, font pairings and alternatives.

Ansage does not claim to be neutral; it escapes from the rationalist sans of closed strokes and regular forms. Meaning Announcement in German, Ansage is versatile and communicates effectively across a broad range of media and formats such as branding, posters, websites, apps, titles and compositions with little spacing). Ansage is a sans serif font with a strong personality that emerges from an interest in and the study of a wide variety of typographic specimens of Gothic fonts from the nineteenth century. The design process behind Ansage brought about constant transformations in form; the result is a compact and robust font, with a large x-height, small ascenders and descenders, and open terminals that grow in expressiveness as it increases in weight. It is available in 10 weights, ranging from Hairline to Black, and 3 widths – Condensed, Regular and Expanded – plus italics, which make a total of 60 perfect variables to combine and contrast with each other. In addition, it also includes multiple open-type functions such as alternative styles, Old Style Figures, Tabular Forms, fractions, case sensitive, ligatures and more.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) nevertheless, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allow enough flexibility for projects of great magnitude. Although leading with an independent family it maintains many of the characteristics of its homologous such as proportions, the “x” height, the construction based on air lines of the italic, ornaments and so on. These details show coherence with the serif version, and at the same time reinforce its personality. Being a multifunctional type, the “kerning” has been worked to function in small sizes as well as in larger ones such as holders. The contrast between weights, was optimized to be used in pairs (Light with Semibold, Regular with Bold and Medium with Black). Relato Sans is presented in 6 different weights, in Roman, Italic, Small Caps and Small Caps Italic with three different styles of numerals, Old style figures, Lining figures and Small Caps figures.

Foverdis is a versatile and powerful ornate script face. Foverdis features flowing hand lettering with tall and graceful ascenders. The face offers a wide array of weights, from the powerful Black weight to the graceful Thin to unique Hairline. Foverdis can get the job done for many unique design tasks. Its wide range of weights at a great price, and OpenType alternates make it a very valuable font for your design toolbox. Foverdis OpenType features include a set of non-connecting alternates, 20 ligatures, and two types of ending letterforms. OpenType features include ornaments, a full set of swashes, swash endings, ending contextual alternates, discretionary ligatures, ligatures and twelve different stylistic sets filled with alternates. In total, there are over 150 alternate letterforms and ornaments. Please see the sample .pdf to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Foverdis is great for a professional designer that wants to maximize design capabilities.

A modern and elegant look of a sans serif tagline. This font comes with nine levels of thickness, from light to black, according to your needs. It pairs well with san serif and modern script as pictured or stands alone as a representative header and brand for an elegant look. Olarwe is equipped with a professional modern character font that can present an elegant and attractive identity for your company for business use, such as business cards, name tags, and uniforms as brand elevation. This modern Olarwe typeface is suitable for embossing as letter nameplates or even sprinkling them in your office with elegant-looking cutting stickers. This elegant Olarwe-type shape also looks excellent for book covers or magazine articles. You can see all the available characters in the screenshot above, and you can try the modern & elegant Olarwe now for any design issues. Olarwe is also multilingual, making it easy to work with for any country and language use. It also comes with Ligatures and alternative stylistics to make your designs more attractive.

Genial is an elegant, contemporary script font in nine styles, specifically designed for maximum versatility. All of the styles, ranging from condensed thin to expanded fat, are clear and legible. The font conveys a feeling of relaxed elegance. The Family: Medium weights - Regular: of medium weight and regular width - Expanded: of medium weight and wide - Condensed: of medium weight and condensed width (narrow characters) - perfect for limited space Black weights (for best readability) - Regular: for bolder statements - Expanded: expanded width for bolder statements Light weights - Regular: regular width, delicate line - Expanded: wide characters and a delicate line - Condensed: condensed width (narrow characters) and a delicate line Fat weight - Expanded: for maximum impact (wide and extra-bold) Use a combination of styles for product branding, book covers, invitations, greeting cards. The Genial combination will enable you to use different styles of the same font for headings, sub-headings and body text. Genial contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

“Fanfare is such a fun typeface,” says Toshi Omagari, who revived the design for The Wolpe Collection. “It was my happiest discovery when I was digging through the Monotype archive. I came across it and had to check the designer’s name.” No wonder: Fanfare is modern, light and playful – not what you’d expect from an 80-year old design. From the original, very heavy weight design, Omagari started by creating a black weight, followed by four lighter weights for Wolpe Fanfare, preserving the character of the letterforms all the way down to a thin version. “I wanted to do more than digitize the original weight,” he says. “It’s surprisingly modern, and its skeleton, its basic structure, is so beautiful.” The new design packs more into a small space than most typefaces. It’s a natural for publication and advertising design. With displays capable of revealing fine details such as Fanfare’s subtly slanted baseline, its lovely forms will easily translate to mobile devices. With an extended European character set that includes Greek and Cyrillic language support, Wolpe Fanfare can speak in many languages.

Meman is a practical sans serif that was enthusiastic about adding details to have more personality compared to a neo-grotesque typeface. The typeface was crafted between the concepts of mechanical oval forms and serpentine curves, with the help from open terminals, contrast joints. These 2 concepts are very different, but they balanced each other to help remain the neutral feeling as a whole. Many details are optimized so that on small scales, Meman has nothing special. But when use on bigger scales, letters are revealed to have been dived in visual flourishes, such as the "e". Also, to avoid broken fragments and remain neutral, some details were converted to alternatives. Meman has 9 upright weights (from Thin to Black), and some OpenType features like fractions, ligatures, custom decorative icons, and alternatives for "A", "E", "V", "Z", ... or "a". There are more than 660 glyphs, which support a wide range of Latin languages, including Vietnamese. For usability, the typeface was balanced and versatile, it can be pinned up as a headline or logo, and can still blend in a small paragraph.

Gunsmoke is a revival of a James Conner's Sons font that's been listed under different names such as Extended Clarendon Shaded, Original Ornamented and Galena. Dating back to 1888 this font was available with an original lowercase, numbers and punctuation. Today we've expanded the set to include the original shaded version a regular black, open left, open right and a fill font for the two open faced versions. The single Gunsmoke fill font is in alignment with the Gunsmoke Open R version and will also work with Gunsmoke Open L by shifting your fill font layer to align with the Open L version. You will need an application that works in layers in order to use the fill font with the Gunsmoke Open L and R fonts. Make sure you check out the left and right pointing gun hands on the less than and greater than keys, the gun alone is on the left and right brace keys. Remember to check your gun in with the Marshal when entering Dodge City.

In ITC Arecibo, Argentinean type designer Luis Siquot has created a typeface of subtle typographic turns. At first glance, ITC Arecibo has a sturdy 19th century wood type flavor, yet the delicate hairline shadow is decidedly Art Deco. Its condensed proportions and character shapes have been carefully modeled to ensure legibility. Siquot added uniqueness and versatility to the face by drawing two sets of small caps: one in which the central horizontal strokes share the same plane (ITC Arecibo) as those in the full-size letters, and another where the horizontal strokes are proportional with the small caps(ITC Arecibo Too). Another intriguing subtlety is what Siquot calls the “soul of the face,” the distinctive highlight/shadow. “This ambiguous line is an effect I have wanted to incorporate into a design for some time,” says Siquot. “Is it a black hairline that surrounds the letters, or a white line incised into the left and bottom of strokes?” ITC Arecibo and ITC Arecibo Too: distinctive, powerful and economical of space. What more could you ask from a headline face?

Wien Pro, the sans serif by Ekke Wolf. Typeface lovers looking for a modern, well-developed sans serif font with a touch of retro and warm, individual lettering will get excited about a new addition to the font market. The more than complete Wien Pro front comes in three styles and four different weights. In addition to the upright Wien Pro there is the Wien Pro Oblique with a moderate 6° slant and the Wien Pro Superoblique with an 18° slant. Available weights are light, regular, medium, bold and black. These fonts are equipped with extended Latin alphabet for Central and Eastern Europe and also Cyrillic and Greek alphabet. The set of characters includes nine different sets of numbers, plus its own set for the small caps, as well as alternative characters and groovy ligatures. In addition, all Wien Pro styles are also available as unicase with upper case and lower case x-height alignment. The style, metrics and proportions of Wien Pro combine perfectly with the Liebelei Pro and the script fonts of the Calafati Pro.

Elysio is a condensed and humanist sans. Its open forms are very useful for signage. The constructed aspect is based on Predige. The Elysio family includes 7 weights, from Hairline to Black, with their corresponding italics. Each font includes OpenType Features such as Stylistic Alternates, Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions. Elysio family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

The starting point for VLNL Kouseband was spotted by Donald DBXL Beekman on the Christian Reformed Church in the Dutch town of Naarden. The iron wire lettering contained a number of unusual characters and details, which eventually led to this five weight family. The Kouseband fonts mix elements of geometric sans serifs and upright unconnected scripts, with a hint of Dutch school writing. VLNL Kouseband is monolinear and has an very large cap height compared to the (lowercase) x-height, giving the capital letters an elongated condensed appearance. Kouseband is the Dutch word for ‘garter (belt)’ and also gave the name to a long tropical bean known as Yardlong bean. Kouseband beans are a common ingredient in Roti and other Surinamese dishes. As the Dutch Christian church is sometimes referred to as ‘Zwarte kousenkerk’ (Black stocking church), and stockings are held up by garter belts, we have come full circle and VLNL Kouseband has a name. VLNL Kouseband contains a set of oldstyle numbers matching the lowercase letters, and a couple of wider alternate capitals (HMNOQ) to enhance the liveliness of your designs.

TXT101 is a fresh, friendly typeface for mock text and borders. As a retro-cool digital successor to the pencil marks that were hand-drawn as placeholder text in the analog era, TXT101 includes 52 styles, from Arch to Zigzag, with a couple of loops, several slants, and a swell set of waves. If your final copy is TBD, use TXT101 to mock up roman, bold, italic or light. TXT101 looks GR8 and is EZ to set. BWTM! Corner pieces make TXT101 a complete and charming bordering typeface. All patterns come in four weights, so you can make frames and borders for everything from little labels to big broadsides. Corners (north, south, east, west) are TTLY a snap to select from their own stylistic sets. DIY: MIX & MATCH TO CREATE COOL PATTERNS! Many styles have aligning baselines, so glyphs will connect. Single- and double-line variations abound, and you can combine weights (light, regular, bold, black) as well as styles. BTW, feel free to insert word spaces or leave them out.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. TessieBugs contains shapes that resemble insects such as moths, ants, butterflies, and weevils. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Jamie Handwriting is a charming hand-script font. Its contextual and stylistic alternates makes for a typography indistinguishable from a true handwritten text. Jamie Handwriting's cute and quirky lettering fits any project or contexts that requite that extra bit of genuineness and life. It is wild and funny to look at, and its quick movements emits a happy optimism. The family consists of ten high-quality styles: The weights Thin, Light, Medium, Bold, Black as well as each style as Regular and Alternate. The different thicknesses ensures it will work in any size, and the Alt style prevents any repeating characters. Jamie Handwriting is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Born at a crossroads, the collaborative sans family of 18 styles Ways is the latest arrival in our portfolio. The name is no coincidence, as Ways pulls out all the stops to bring you excellent legibility. Combined with brutal and elegant details for a distinct humanist flair, this sans offers perfect functionality across all weights. Visual compensations, extra white space, wider apexes, subtle tweaks, and moderate inktraps distinguish Ways among similar typefaces. Use over 690 glyphs, extended Latin and Cyrillic support, extensive OT features set, icon set of more than 60 navigation pictograms, and one variable style, to design full-fledged signage systems that get you from point A to point B without relying on G-Maps. Family overview: 9 weights (from Thin to Black) + italics Extended Latin Cyrillic 690+ glyphs languages 1 variable font (2 axes) 1 free font - Ways SemiBold OpenType Features: Localized Forms Standard Ligatures Contextual Alternates Lining Figures Tabular Figures Subscript Scientific inferiors Superscript (Superiors) Numerators Case-Sensitive Forms Standard and Discretionary Ligatures Stylistic Alternates Contextual Alternates

Antica has sharp triangular serifs, and in 8 weights with true italics, it forms a family that stylistically finds its origins in Latin styles of the nineteenth century. The font incorporates additional swashes, small caps and stylish alternates that advance the aesthetic from its roots and make it appropriate for modern design. Commonly named ‘Latin types’ did not vary in weight, but we decided to create Antica with a range that goes from thin to black and we also added extra curlicues to the letterforms. Antica borrows from the versatility and freedom granted to type founders of the nineteenth century – a time when the meteoric growth of mass-produced consumer goods led to an increased demand for publicity that needed fresh, attention grabbing typefaces. And as an homage to these Latin types we designed Antica to function well with an array of projects from stylized labels and formal editorial design requiring small type sizes to large-scale posters and billboards. The Antica family supports a wide variety of Latin alphabet-based languages.

This is a new version of our popular DIN Stencil family designed with a wider cut than the original. This overcomes the diminishing effect of the stencil at smaller sizes where the cuts tend to disappear, whereas it makes a bold statement at display sizes. 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. DIN Stencil B 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. It consists of 7 diverse weights from Extra Thin to Black. This version supports Latin, Cyrillic, Eastern European, Turkish and Baltic. DIN Stencil B includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

How can we possibly call our line of celebrity fonts the MASTERS OF COMIC BOOK ART if it doesn't include a font based on the remarkable work of comic’s renaissance gentleman, artist/writer/colorist/letterer, Dave Gibbons?! Based on Dave’s easy-on-the-eye hand lettering, this is the font Dave himself uses to letter projects such as STAR WARS: VADER'S QUEST, MARTHA WASHINGTON & BATMAN: BLACK & WHITE. Other guys may imitate him, but the original is still the greatest! Get in with the In Crowd and check out the font created by Mister Fontastic for Dave Gibbons Original Graphic Novel, The, ah, The Originals. Yes, Dave Gibbons now comes in lower case, it’s not just what he does when he gets back from the off license. Be sure and pick up The Originals from Amazon -- now available in paperback, and probably still available as a hard case, much like Dave. After the crack about the beer above, I'm guessing you'll find me with a broken spine in the remainder pile. See the family related to Dave Gibbons: Dave Gibbons Journal & Dave Gibbons Lower .

Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles. This deluxe version includes display light, display heavy, and display black as well as the hard-to-find display light and heavy (Koch Kursiv) italics. Eva-Paramount, which is based on Morris Benton's 1928 ATF Paramount, has also been included. It contains a set of alternates characters that are in keeping with the light and heavy display letter styles. Eva-Antiqua is also available in the OpenType Std format. Alternates are now merged together into each style as stylistic alternates or as swashes. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Boge LP is a new font family designed to communicate lucidly in text as well as in headlines and titles. The family consists of Regular, Italic, Bold, Bold Italic & Black. Character sets include a full compliment of multi-language support and fine-tuned kerning to make Boge™ a smart choice for professional quality typography from text to billboard-sized advertising. Regular and Bold styles include designed small caps and old-style numerals accessed as OpenType features. An original serif design, Boge blends traditional aesthetic with contemporary refinement. Its hallmarks are: clarity, readability, geniality, competence. The five related styles provide a strong palette for coloring words, text and ideas with quiet authority. Garrett Boge has been designing type for over 30 years, working with Apple, Microsoft, Adobe, Disney and numerous corporate clients. His background in calligraphy, commercial lettering, graphic design, and typography has been channeled into creating this namesake design. Boge Text joins his other popular faces — Spring, Florens, Bermuda, Spumoni, Longhand, Tomboy, Wendy — under the LetterPerfect Fonts brand, marketed through Monotype and its partners.

In Greek mythology, Argo was the ship on which Jason and the Argonauts sailed from Iolcos to Colchis to retrieve the Golden Fleece. The Argo Nova font is an adventure though geometric sans universe with a touch of humanistic feel, bringing a different look with curved vertical strokes and high contrast on thicker weights. Designed with OpenType features, it includes extended Latin support, fractions, tabular and old-style figures, ligatures and more. With no excess in mind, it came in 10 styles (5 uprights and is matching italics) and it is a font family ideal for text, branding, signage, editorial, print and web design creations. 5 weights: Thin, Light, Regular, Bold and Black Matching italics Lining and old-style figures with proportional and tabular spacing Ligatures on “f” Alternate characters for a, æ, g and ß Fractions Ordinals Extended language support, designed following the Underware Latin Plus character set, with 534 glyphs, supporting 219 Latin based languages (see https://underware.nl/latin_plus/languages/). * Some features require an application with OpenType support.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.

When I was a kid, I loved the story of The Boy Who Cried Wolf. I thought it was pretty stupid of the boy to trick the villagers into believing wolves are attacking his flock of sheep. But I also thought it was a bit sad that the sheep are eaten by a wolf in the end. I didn’t really feel sorry for the boy (he really was stupid), nor the wolf (he just does what he is supposed to do in life), but I did feel sorry for those poor sheep. I guess this is what disinformation leads to in the end. Cry Wolf is a bit of a scary font: it was made with a really old and battered brush, using Chinese ink and some quality French paper. It has a slight tilt to the right and I added some inky splatter for dramatic effect. Use Cry Wolf for your book covers, product packaging and headlines; use if to spice up you invitations and your halloween posters. Comes in a slightly tilted Regular style and an outright Italic style.

Abdo Salem is the second version of the font FS_Salem which was designed by the type designer Abdulsamie Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Light, bold and black) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

Glorisa is a new elegant serif font that will add a touch of luxury and style to your projects. This is a very versatile font that works well in large and small sizes. Perfect for editorial projects, magazine headers, Logo designs, Clothing Branding, product packaging, and showcasing masculine and feminine qualities. Glorisa is equipped with uppercase, lowercase, numbers and full punctuation + Multi language support and PUA-encode. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Features: 3 Font weight Uppercase & lowercase letters Alternative & Ligature Styles Numbers & Punctuation Characters with accents Supports Multiple Languages This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Glorisa! Feel free to use #Black Studio tags and #Glorisa Serif fonts to show what you've been up to.

‘Scion’ is an original design by Alex Kaczun. The inspiration for the typeface came from the Toyota SCION logo, which bears its name. In Alex’s own words, "I loved the simplicity, proportions and hi-tech look of the logo and decided to create an entire new design series based on its unique look". The fonts come in five flavors: thin, light, regular, bold and black. All the font weights were designed systematically on tabular widths so that the user can make adjustments to overall type color without changing the line length. In addition, Alex Kaczun has provided us with several alternate glyph substitions to further enhance the overall appeal of this contemporary new design. The large Pro font character set, which supports most Central European and many Eastern European languages, makes this typeface series ideally suited for display copy as well as text composition. In the near future, Alex plans to include a narrow, compressed and ultra expanded, along with true-drawn italic variations to further expand the possibilities of this great new display series.

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

Neue Haas Unica by Toshi Omagari: The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it. In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as "Team '77" consists of Andre Gurtler, Christian Mengelt and Erich Gschwind to adapt Max Miedinger's font The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the "b" and "d", appear more delicate and have a slightly more pleasing effect. In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase "a", in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the "k" was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase "J" was also significantly curtailed. In addition to many minor alterations, such as to the length of the horizontal bars of the "E", "F" and "G" and to the angle of the tail of the "Q", the leg of the "R" was extended and made more diagonal. In the case of the numerals, the upper curve of the "2" was reduced and the lower loops of the "5" and "6" were correspondingly adapted. The sweep of the diagonal of the "7" was also reduced. Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team '77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica? a total of nine weights, from Ultra Light to Extra Black. He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals. With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.

∙Kalender is designed as a high-contrast modern serif for display use. Kalender is provides you an elegant and luxurious typographic colour. ∙When Kalender's lines invisible at small sizes you can use Kalender No 2 which have thicker lines and serifs to assist readability. ∙Kalender Blok is arranged for situations which are diacritical marks overflow to leadings of the headline and headline typographical color is affected negatively from this situation. For this purpose, majiscule diacritical letters are resolved within the letter height. However, when this is done, new forms are obtained by integrated diacritical marks with letters instead of directly merging them. The idea behind this approach is to preserve the typographic value of diacritical marks and emphasize the semantic value of diacritical letters. 68 letters have been redesigned in this way. And also Kalender have different meanings in Turkish: large, humble etc. I considered this name appropriate because it described the structure of this font well.