Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much. So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss. These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.

‘Bridle Path’ is a captivating font that embodies the graceful beauty of natural ink strokes. With its unique blend of thick and light strokes, it exudes a tranquil and soulful writing style that is both relaxed and inviting. The font's distinctive character makes it an excellent choice for various applications, including brands, logos, photography logo watermarks, headers, titles, weddings, cards, and website banners. The fluidity of Bridle Path’s design creates an enchanting visual experience, as if each letter was crafted by an artist's brush. The thick strokes provide a sense of boldness and strength, while the light strokes add delicacy and elegance to the overall appearance. This combination results in a font that captures attention and leaves a lasting impression. Bridle Path’s versatility extends beyond its aesthetic appeal. It has been meticulously crafted to support multilanguage usage, ensuring that it can seamlessly adapt to various linguistic needs. Whether your content is in English, Spanish, French, German, or any other language, Bridle Path will faithfully represent your words with clarity and beauty. Whether you're seeking a font that embodies a serene atmosphere or one that adds a touch of sophistication, Bridle Path is the perfect choice. Its soothing and expressive nature elevates any design, making it a valuable asset for both professional and personal projects. Embrace the allure of ‘Bridle Path’ and bring a sense of natural elegance to your creations.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming." Syntax® Next font field guide including best practices, font pairings and alternatives.

I love Tea. Do you love Tea? Good. Because there's a whole load of T's in the Totally Terrific Typeface! Bursting with fun and bouncy brush-strokes, this typeface will undoubtedly add a dash of cheeky playfulness to your text - ideal for greeting cards, branding, merchandise, invitations & hand-made quotes. The awesome thing about this typeface is that it's so easy to mix up the various font styles and create totally unique, hand-made looking words each time. The lowercase characters can be connected (Totally Terrific Regular) or un-connected (Totally Terrific Two), and will work in any combination of these two versions. Not only does it also look great in all-caps, but the uppercase letters will fit in with the lowercase at any location - I'm serious! Just throw one in the middle of a word, I dare you ;). Your download will contain 2 font files: Totally Terrific Regular • Contains a full set of connected lowercase letters, uppercase letters, a large range of punctuation, numerals, and multilingual support. Totally Terrific Two • A second version of the Totally Terrific Typeface, with a completely new set of un-connected lowercase characters. These are designed to work in perfect harmony with the connected set from the other font file. Just keep switching between the two fonts to create unique word layouts!

My first font for the summer of 2009, Abrect is a new sans serif font where I try to maximize the x-height and keep the design fresh and personal. It fits in with my continuing objective of designing book fonts that I can really use. Abrect is a tangent for me just taking an idea out to its end. In particular, it is a radical modification of my first font in 1993, Nuevo Litho. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. With many of the new releases I see, the digital perfection is getting pretty extreme. It’s looking like a Rococo stage of development for many with decoration taking over from function. I'm consciously trying to head a different direction. This is not a normal font for me in that it has caps, lowercase, with the appropriate figures for each case, no small caps. This is the first time I have skipped small caps in over a decade. This font has all the OpenType features in the display set for 2009 except for the small caps. There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more and many of them are experimental in form. Enjoy!

Bachelorette is a charming handwriting script font with a delicate and feminine touch. Its smooth curves and gentle strokes give it a natural and authentic look, as if it were written with a brush or pen. Perfect for adding a personal touch to your designs, Bachelorette is versatile and can be used for anything from greeting cards and invitations to social media posts and logos. This cute and beautiful font is designed with a focus on elegance and simplicity, making it ideal for projects that require a touch of sophistication and grace. Let Bachelorette bring a romantic and whimsical feel to your work with its soft, flowing letters and elegant swashes. Bachelorette is available in four styles: Regular, Italic, Bold, and Bold Italic, allowing you to easily switch between different weights and styles to create dynamic and eye-catching designs. Use underscore _ anywhere in a word to make swashes. Example: Bach_elor Use multiple underscores to make different swashes. Example: Love__letter The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Back in 2011, Gelato Script was the best-selling brush script font on MyFonts, and has remained popular, appearing on everything from designer handbags to primetime TV shows; from food blogs to wedding invitations; from glossy magazines to (not so imaginatively!) ice cream shops. All these years on, and it struck me that there is much that could be improved on; there are certain glyphs that never quite felt right. So I decided to update Gelato Script, and this is the result, Gelato Luxe. What started as a simple update quickly spiralled into a total overhaul. There is not a single glyph in the new version that’s the same. The entire font has been tweaked and tinkered with and redrawn and respaced and rekerned to get it to this point. While I wanted to maintain the feel of Gelato Script, Gelato Luxe represents a massive leap in sophistication, with new alternates for smoother connections, and a totally new OpenType engine, with no fewer than seventeen stylistic sets. Gelato Luxe is a truly versatile script font. You can effortlessly change the feel by playing with the many OpenType features. Make sure contextual alternates and standard ligatures are switched on, and it will work like a charm right out of the box. See also Gelato Fresco for a further updated version, this time with extra weights!

Baritta is a modern script font made with brushes and ink, thick and irregular lines. It contains the complete set of lowercase, uppercase, alternative, binder, punctuation, numbers, and multilingual support. Get inspiration from the preview above. Baritta is perfect for use in watercolor designs or bold handwriting styles, such as blog headings, branding, t-shirts, weddings, social media, product design, stationery, advertisements, clothing, cover books, business cards, greeting cards, branding, merchandise, invitations and handmade quotes and more. Baritta features alternative OpenType styles, binders and international support for most Western Languages ​​included. To enable 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 newer versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Baritta is coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use the Font Book, and Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor / application. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, please let me know. I am happy to help :) Thank you & Happy Designing!

Presenting the 🎃 The Mistery Zero Halloween Typeface 🦇 by alitdesign. The Mistery Zero Halloween Typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Mistery Zero Halloween Typeface has a horror character with a script and wet brush style, making the horror Halloween themed design concept even better and unique. The Mistery Zero Halloween Typeface also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Mistery Zero Halloween Typeface, creating a Halloween themed design is very quick and easy. The Mistery Zero Halloween Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with halloween and dark concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Mistery Zero Typeface contains 587 + 150 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Rusty Forest is a typeface that takes you back to the days of golden design, when travel and adventure were celebrated in striking posters. This font's rustic appearance, created by its brush-style strokes, evokes images of a cabin in the woods, surrounded by the beauty of nature. It's as if you can smell the campfire smoke and hear the rustling of leaves in the wind. This font is perfect for designers looking to add a touch of vintage charm to their projects, whether it be a poster for a national park or a logo for a wilderness-themed brand. Its 1950s-inspired style will transport viewers back in time to a simpler era, where the call of the wild was all one needed to feel free. The Rusty Forest family includes Bold, Italic, Bold Italic, and Regular, offer a range of options to suit different design needs. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Kuschelfraktur is a unique, eye-catching take on the theme of blackletter that replaces the broad nib with a brush pen and achieves stroke modulation through stencil-like gaps. It combines the texture and dignity of blackletter with the human warmth of informal handwriting. Kuschelfraktur offers five separate sets of capital letters and several additional customization option via stylistic alternates. The degree of ornamentation in the blackletter capitals can be increased (SS02) or decreased (SS07), while SS04 and SS05 offer two simpler approaches to capital letters that bridge from blackletter to Roman letters (Antiqua). The default single-storey �a� can be replaced with a two-storey version in SS01, and SS08 offers a single-storey capital �A� for the simple capitals. Finally, SS03 restores some of the more unique letter shapes of the Fraktur style of blackletter. The old-style figures can be replaced with lining and/or tabular figures. All these stylistic sets are accessible via OpenType from the main font, Kuschelfraktur, whereas the spin-off fonts (Traditional, Verziert, Text, Schlicht, Antiqua) offer convenient access to those sets even in environments without OpenType support. I am grateful to the helpful souls on the TypeDrawers and Typographie.info forums for encouragement and constructive feedback, and to the Glyphs team for their fantastic type editor. Kuschelfraktur is dedicated to my son Marius.

Denominary typeface is about precision, beauty, and refinement. It's crafted with care and attention to detail for professional creative people who value quality and distinction. The Denominary typeface has an advanced feature that sets it apart from others: auto-active contextual alternates. Our font engineer writes this feature to minimize kerning between characters automatically, making it very convenient and easy to use, especially for web purposes where minimal kerning means a smaller font size. The feature adjusts the kerning based on the specific characters being used, ensuring optimal spacing between letters. Contextual alternates will push your typography project to a balanced form. We designed the letterform by considering the white space and contrast to get a natural voice and fluid, and of course, this will happen in a legible and stylish. Denominary typeface offers extensive language support and stylistic variations, thanks to its 482 glyphs. It also has discretionary ligatures, case-sensitive forms, and slashed zeroes for added typographic options. The condensed style saves space, and seven weights will provide more options. Denominary typeface brings refinement, exclusivity, and sophistication to any design project. It's a typeface that tells a story of precision, beauty, and distinction. Go ahead with the game in terms of its advanced auto-active contextual alternates feature, giving you a competitive edge in the design field.

Shocka Family is a confident serif. Designed to reflect nature, it creates a sense of softness and natural expression. We pushed the concept in a usability-focused direction, to work as a bold tool and a beautiful communicator. Variable Shocka enables fluid design in 9 weights, italics and 2 styles with major latin based languages. The right slant advances aesthetics, brings energy and makes it suitable for modern designs. The type family blends organic curves and soft repetition into strong and harmonious types. At large dot sizes you can appreciate the shape of the letters, while the same control and focus creates an even texture for small dot sizes and long reads. Fonts extend their use by giving weights ranging from light 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. The Shocka Family character set combines additional symbols, style alternatives, unique binding, and case sensitive punctuation - resulting in a stable, hard-working family ready to tackle projects of any size. I can't wait to see what you do with Shocka Family! Feel free to use the #Skinny_Type and #Shocka Family font tags to show what you've done visit my Instagram : https://www.instagram.com/skinny.type/ Thank you!

Introducing Corpsy, the horror display font with a trash style and a unique droplet touch. Its spooky design perfectly captures the essence of Halloween, nightmares, and horror. Ideal for posters, t-shirts, art crafts, unique headlines, logotypes, and many more. What makes Corpsy unique is its distinct droplet effect, adding an extra layer of fear to any design. This font also pairs well with other horror-themed families such as Ghoulish and Gruesome. Corpsy comes in various styles, including regular and bold, and boasts an extensive character set, making it versatile for any project. Its special features include ligatures, stylistic alternates, and swashes. The design concept for Corpsy was to create a font that could embody the essence of all things horror, yet still retain a unique and identifiable style. We wanted to create a font that could stand out amongst the other horror display fonts available. We created Corpsy for designers who wanted to create horror-themed designs that were more than just clichés. This font is perfect for those looking to push the boundaries of horror design and create something new and unique. Corpsy is not a revival or based on any historical design. It was created from scratch, with the goal of becoming a staple font in the horror design world. Try Corpsy today, and take your horror designs to the next level.

Introducing Delaras, a modern script font created with brush and ink, creating a bold and irregular baseline. It contains a complete set of lowercase, uppercase, alternates, ligatures, punctuation, numbers, and multilingual support. Get some inspiration from the preview above. Delaras is perfect for use in water color design or lettering style bold hand, such as blog headers, branding, t-shirt, weddings, social media, product design, stationery, advertising, apparel, cover books, business cards, greeting cards, branding, merchandise, invitations and handmade quotes and more. Delaras features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions.How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Delaras is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app.How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, please let me know. I'm happy to help :) Thanks & Happy Designing!

The idea of Limes emerged at the seashore last year in late summer. Getting ready in advance for a dark winter, we've decided to design a special fontfamily which would bring a bit of vitamins and summer sun into the rough everyday routine and help us survive the cold winter. Limes is both a dream of the sun while it’s gone and a refreshing breeze for the time when it finally gets warm! Limes is a completely handwritten fontfamily and consists of 23 typefaces. To create Limes Sans and Limes Slab families, we've used regular watercolor brushes, and to create monolinear Limes Script, as well as for Catchwords and Dingbats, we've used a felt-tip pen with circular section. Limes Sans and Limes Slabs fonts work perfectly together with Limes Script due to the general handwritten idea, as well as due to the widths contrast – despite its width, Limes Script mixes well with narrower opponents and adds a bit of human spontaneity into the general handwritten concept. The Limes collection includes: Limes Sans (Thin, Light, Regular, Bold, Black & italics), Limes Slab (Thin, Light, Regular, Bold, Black & italics), Limes Script, Catchwords and Dingbats. Limes Sans and Limes Slab widely support OT features: tnum, ordn, frac, case, numr, dnom, subs, sups, and Limes Script uses a large number of context alternatives.

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

Lombardia Script is a creative and decorative script font that exudes vividness and elegance. This font is perfect for designing logotypes, tattoos, and other projects that require a signature-like quality. Designed with the art of calligraphy in mind, Lombardia Script features a delicate and expressive stroke that gives it a natural and authentic look. Its ink and brush-like appearance adds to its creativity and uniqueness, making it a great choice for any project that requires a touch of sophistication. Lombardia Script comes in four styles: Regular, Italic, Bold, and Bold Italic. This range of styles provides versatility and allows for dynamic and creative designs. With its beautiful and flowing letterforms, Lombardia Script is the perfect choice for adding a touch of elegance and creativity to any project. Use underscores _ anywhere in a word to make a swash. Example: Wonder_woman Use multiple underscores to make different swashes. Example: Extra__vagant The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

One menorah that I have long found particularly appealing was named The Tree of Life Menorah, a replica of which I gave as a gift one holiday to a kindly old couple who were neighbors and became friends. It had a simple, organic elegance that I see in the best of Art Nouveau sculpture. To me personally, Judeism is a celebration of life, like the triumph of the flower that blossoms in the crack of the city sidewalk. Just as Hanukkah celebrates the rededication of the temple and the miracle of the oil, it celebrates the victorious quest for freedom of the Hebrew people led by Judah Maccabee. Hanukkah represents determination and courage and faith — and it represents the presence of God in the lives of His people. It is interesting to note that the founding of the Albanian nation in the early twentieth century grew out of the resistance of the Albanian people to the imposition of Greek language and culture in the aftermath of the dissolution of the Ottoman Empire. The typeface, HADASSAH, designed by Henri Friedlander (1904-1996), is my favorite Hebrew typeface. Thirty years in the crafting, I believe it is unsurpassed for its shear beauty, combining a subtle modulation of stroke with a simplicity and clarity of form. No doubt, that is why it has become so popular. For me, the Sîyn/Shîyn characters are especially satisfying. For a Hanukkah message in Hebrew, I would choose HADASSAH LIGHT for a headline and print it as large as I could. If, however, you are looking for a friendly, warm face for a seasonal message in a roman-letter based language, may I suggest BETHLEHEM EPHRATH. It will be as comfortable as a bulky, hand-knit sweater on a frosty afternoon and reflects the solid, encompassing, family orientation of this holiday. It was on the way to Ephrath that Jacob’s beloved wife Rachel gave birth to Benjamin and then died from her labor. It was to Ephrath that Naomi and Ruth returned and in Ephrath that we have the wonderful, heart-warming story of the marriage between Ruth and her Redeemer-Kinsman, Boaz. And it was to Ephrath that prophet, Samuel, went to find a new king and there in Ephrath that the prophet annointed a small shepherd boy named David. The Proverbs tell us to seek wisdom. Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM EPHRATH is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. Although this font is readable in all caps (many scripts are not), that does not make it a good idea. Do so only with caution.

Introducing Loominaire - A Modern Futuristic Font! Step into the future with Loominaire, a captivating and cutting-edge font that embodies the essence of modernity and innovation. Designed to make your designs stand out and leave a lasting impression, Loominaire brings a touch of sleek sophistication to your creative projects. With its clean lines and geometric precision, Loominaire exudes an aura of futuristic elegance. Each letter is meticulously crafted to create a harmonious balance between contemporary aesthetics and legibility, ensuring that your message is conveyed with clarity and style. This font is perfect for those seeking to add a touch of modernity to their branding, advertisements, websites, posters, and more. Captivate your audience with Loominaire's versatility, whether you're creating a high-tech logo, a sci-fi movie poster, or a forward-thinking website interface. Loominaire unleashes your creative potential with its extensive character set, including uppercase and lowercase letters, numerals, punctuation marks, and a variety of special symbols. Its versatility extends beyond the confines of traditional design, allowing you to explore endless possibilities and push the boundaries of visual communication. Embrace the future of typography with Loominaire - a font that bridges the gap between contemporary design and futuristic aesthetics. Let your creativity soar and watch as your designs come to life with a touch of modern elegance. Unlock the power of Loominaire today and revolutionize your creative projects with this extraordinary modern futuristic font.

Flamenco is an Andalusian art. Who think in flamenco, think in Spain. Is the result of a cultural mix: Gypsies, Arabs, Jews and Christians mixed elements of their respective cultures with traditional Andalusian elements. It incorporate dance, song and guitar music. Known for its emotional intensity, flamenco is distinguished by the graceful arm movements, ferocious stomping’s flamenco dancer, deep groans and strumming guitar. Flamenco is an art of passion. Flamenca Regular and Flamenca Luz is a brush script inspired by the flamenco dance. Flamenca is an organic, modern and casual calligraphy family font that has preserved in its glyphs its original textured appearance for a more personalized effect even more authentic. 
As an exclusively Open Type release, with 747 glyphs, it has several special alternatives for all letters with lots of possibility an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes, initial and terminal forms and stylistics alternates for each letter, catchwords, ornaments that can be added to the beginning or end of each letter, and much more. Ornaments has been created inspired in the bars of the Andalusian patios where flamenco is danced. These lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. 
As a whole, Flamenca was made to make your project more beautiful and attractive! Have fun with it! Flamenca is fancy, delicious & fresh!

Inspired by a workshop with iconic American sign painter Mike Meyer, Ulrike of LiebeFonts set out to create a versatile, lovely typeface for sign painting that looks not at all like a font but rather like the letters on a unique, hand-painted storefront sign. LiebeDoris combines the best of two worlds: the beauty of all-American sign painting and the meticulous craft of German engineering. Each and every letter in each of the four different styles in LiebeDoris was hand-painted on large sheets of paper with a brush and ink, then carefully transferred for digital typesetting. So rather than being one typeface with different weights, think of LiebeDoris as a package of four individual designs that go together very well. Advanced OpenType features enable this font to really shine: every letter in this all-caps font comes in four variations, so that two of the same letters typed in a row won’t look the same, giving a truly handmade charm. (This feature requires layout software or a word processor with OpenType support.) And if you do have a storefront or a restaurant menu to prettify with LiebeDoris, you will love the integrated collection of store-themed catch words like “FREE”, “NEW”, and “SALE”. If you fall in love with LiebeDoris, you may also like our other best-selling fonts, LiebeErika and LiebeGerda, or our whimsical pictogram fonts such as LiebeMenu.

A practical sans serif need not appear dry, constructed, or derivative. It can excel in its sensible role and yet possess a distinct flair. Iskra (spark or flash) is a new sans serif designed by Tom Grace. It was conceived to challenge the limits between utilitarian and decorative. Sporting a low-contrast profile, it is a study of bridled energy in the Cyrillic and Latin scripts. Its eye-catching forms are an oblique tribute to the less-predictable style of brush lettering, and contain daring, elegant curves, economical proportions, and a slight top-heavy asymmetry. Its warmth comes from the subtle emphasis on the structures and details of individual letterforms, whereas its solidity is demonstrated through its balanced rhythm over long spans of text. Each font supports over 75 languages and is hand-tuned for a pleasing legibility and aesthetic both in print and on screen. This type family makes an excellent choice for presentations, articles, branding, and advertising. Available in 14 styles, Iskra represents a fresh, stimulating, forward-looking perspective on how we see both the vitality of the particular letter and the overall harmony of text. Iskra is available in three different character repertoires: Iskra, complete set — Iskra CYR, Cyrillic-based subset with a Latin supplement — Iskra Cyr, Latin-based subset. Both the LAT and CYR series conform to most standard codepages used by typical software covering their respective scripts. All three series have similar OpenType functionality."

A few emails sent to Canada Type have asked for more “bad scripts”. A few others asked for "more Mascara-like treatments". And some asked for more fonts of “distressed elegance”. Whatever you like to call this style of doubled-script font, sightings of designs using it have become common within the last few years. Such fonts have become the standard in expressing elegant confusion, old chaos in modern settings, recycled histories, and rebellious ideas. This style is quite often seen on chic clothing, music packaging, some sports paraphernalia, surfer and skateboarder gear, even book covers. That said, the Heathen font was made to include an advantageous feature that other distressed scripts do not normally have: More intertwined over-swashing in the majuscules. This over-swashing is quite useful in settings where the stroke and fill colors differ, or complement each other. It is also quite the point of emphasis where the idea is to show elegance gone ancient, old thoughts in a modern wrapper, rust never sleeping, or the very basic limits of the world’s nature. The original Heathen was made by redrawing Phil Martin’s Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scroll’s lowercase atop a pre-release version of Sterling Script, yet another Canada Type font. Heathen Two was made in a similar way, by combining two pre-release Canada Type scripts.

Touch Tone introduces a condensed lowercase and oblique italics to the uppercase font inspired by the "Dr. Strangelove" movie titles – designed by Pablo Ferro. Touch Tone's naive hand-drawn strokes rely on a quirky variable width-brush. They are looser, more textured, tactile, more informal, with quirky nervous lines. A family of four fonts: it includes two weights, light and medium, and both with roman and italics. All the fonts include the same patterns and ornaments. However, many of the “medium” font weight ornaments are beefed up to visually match. Touch Tone utilizes OpenType features. It imitates handcrafted lettering by including 2 glyphs for each U&lc letter (4 sets) – all kerned with care. This medley avoids a repetitious appearance so each sentence looks original and hand-drawn. The uppercase includes two widths – extra condensed and extended. Add whimsy and eccentricity by mixing the extra condensed caps with extended caps and the lowercase alphabet. Use the Contextual Alternates, or Stylistic Alternates features panel, or select the alternates in the Glyphs palette. Touch Tone includes oldstyle numerals, a variety of retro patterns, dingbats, speech bubbles, icons, banners, graphic arrows and ornaments. Each font includes 403 glyphs. Suitable for display or text and many European alphabets. Purchase both weights, roman and oblique italics to emphasize words. Touch Tone combines cool graphics and patterns with OpenType. Generously apply Touch Tone for added warmth and a "Rat Pack" groovin' message.

Carefully considered letters written long-hand, sealed in an envelope and sent across continents were once the only connection for distant friends and lovers. Dear Sarah is a type that evokes the emotion of those handwritten messages. Using alternates, ligatures and a complex system for randomization and natural connected characters, Dear Sarah seeks to push the boundaries of digital type. The guiding question that drove the design of Dear Sarah was whether it was possible to create a natural looking script that worked well in running text. Hand-written types often work for two or three words, but as soon you you look at them in a paragraph, their unnatural textures make them feel contrived. As one of the first serious types to explore OpenType for a connected script, Dear Sarah uses a unique system to create natural connections. Often script types rely on one connecting point to make sure that all their characters fit together properly. Characters that naturally connect much higher, such as the ‘o’ or ‘v’ are distorted to connect at the same point as an ‘a’ or a ‘c’. Dear Sarah uses multiple sets of lower-case characters to connect at multiple points, creating a much more natural looking script. OpenType is also used to create variety, by using randomization techniques to insert disconnected characters as well as alternates, ligatures, swashes and ink blots to create a natural rhythm across multiple lines.

Introducing "Citrus Shore," a cool and chic modern handwritten marker font that embodies a refreshing and vibrant aesthetic. With its lively brush strokes and contemporary style, Citrus Shore brings a burst of energy to any design project. Whether you're creating invitations, branding materials, or social media graphics, this font's playful and dynamic character adds a delightful touch of modernity. Its versatility and undeniable charm make Citrus Shore the perfect choice for those seeking a trendy and captivating typeface that leaves a lasting impression. With its expressive and authentic appeal, Citrus Shore ensures flawless communication across borders. Supporting a wide range of languages, from English to Spanish, French, and more, this font guarantees your message is effectively conveyed. What sets Citrus Shore apart is its inclusion of over 400 alternate letters and ligatures, offering endless creative possibilities for stunning and original typography. From captivating logos to distinctive headlines, this font breaks free from the ordinary, infusing your designs with a touch of individuality. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Citrus Shore - Playful Marker Font Includes: Over 400 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Radona is a blast from the 80’s that's rader than rad. Radona is the typeface version of Synthwave, an electronic music subgenre that takes influence from the 1980s but builds on it, resulting in a construct that lives in the minds of both those who have experienced it and those who haven't. Radona expresses a nostalgia for 1980s culture, attempting to replicate and appreciate the era's vibe, but extends it further with something new. This sans family has plenty of 80's flavor, but with some fresh twists to push it to the limit. Radona is a geometric sans-serif typeface. Radona has a few quirky characteristics, but it has a generally neutral tone and structure that makes it ideal for usage in print, especially when a contemporary look is desired. It looks amazing in both body text and headlines. The geometric grotesques that were popular in the 1980s served as inspiration. It's a typeface that's been crafted for usage in a range of design fields, from branding to packaging, and it can be used in anything from interfaces to apps. Radona is an excellent typeface for use on websites and other digital applications. Radona comes with a wide variety of styles and a large selection of stylistic alternatives, ligatures, small caps and other special features. Along with parachute pants, synthesized guitar riffs, and VHS scanlines, Radona brings back the 1980’s.

The Richie™ typeface grew out of a lettering experiment inspired by the work of Czech type designer Oldrich Menhart (1897-1962). Menhart’s typefaces were primarily text designs with a strong personal calligraphic influence. Monotype Studio designer, Jim Ford, wondered what a display typeface from Menhart might look like, and began drawing bold script characters with a broad-tipped chisel marker. “It was a familiar but laborious exercise,” explains Ford, “I tried to achieve an authentic – yet controlled – randomness that would serve as the foundation of a typeface.” Ford first drew a large suite of characters using the marker. All the drawings were then carefully adjusted, and scanned. Ford then pieced together a typeface from the best versions of letters, and refined those further. The result is a rugged, somewhat eccentric and playful script built on an obvious hand-drawn foundation. In a world of smooth scripts, the Richie design is heavy, chunky and rough. Its hand-made feel and vigorous rhythm put the power of raw brush lettering into the typographer’s hands. OpenType® fonts of Richie include standard, contextual and discretionary ligatures, in addition to contextual and stylistic alternates, old style, lining and superior figures, plus a large complement of swash characters. The name “Richie”? It grew out of Ford’s original premise for the design. “I wondered what it might it look like if ‘Old Richie’ had designed a heavy display face or script.”

Workhorse is a Sign Painter’s Gothic developed by Master Sign Painter Greg Reid. Workhorse captures the true essence of hand lettering. From the tapered waists to the elegant snaps of the brush; these elements present a warmth unseen in today’s mechanically stiff Gothics. Greg Reid and Charles Borges de Oliveira collaborated to bring this truly one of a kind typeface to fruition. With the power of Open type, Workhorse utilizes Contextual Alternates to create random variations of the capitals and lowercase letters. This allows your text to have subtle differences in the letters without losing form which helps to create an honest hand lettered look. This feature can be turned on or off to suit your individual style. You also have the ability to manually choose the glyph variations from the glyph pallet to help you create one of kind designs. Both versions of Workhorse feature complete variations of the capitals and lowercase letters (56 total), Small Caps and six alternates. The Small Caps are not just the capitals scaled down. They have been designed as a unique second set that adjusts the stroke thickness to match the existing letters, creating what we like to refer to as “Real Small Caps”. Workhorse is a timeless classic that can be used from early Americana advertising all the way up to present day modern use.
 No matter how you use Workhorse it always looks and reads well.

A storm has been brewing. It’s Hurricane. A complete redesign of a popular style. New flair and excitement abounds with this fast moving spirited brush script. This updated version of Hurricane was created with high end advertising in mind but can also be used for designs outside of commercial uses— greeting cards and social expression, or even scrap-booking projects. There are three regular styles and a PRO version of the script styles, plus a graphics font to add an extra breeze to your work. Hurricane Regular is straight forward with the more Roman capital forms. The Script version swaps the caps out for the more flourished uppercase. And finally, the Swash version contains many of the alternate letter forms found in the PRO version. Hurricane Pro offers the features of all three of the regular Hurricane versions with added OpenType programming and additional alternate glyphs. The Contextual feature of Hurricane swaps out the regular forms for more flashy characters along with necessary ligatures and alternates that give perfect flow to the words. Access the stylistic sets for even more creative options. In addition, see GLORY— a sans serif spin-off (pun intended) to complement the script styles. The Glory styles contrast to Hurricane’s slanted, brushy speed. In addition, an inline font has added to complete the pro package. I sincerely hope you enjoy this exciting update to a font I have always found to have huge potential.

One of the earliest fonts published by Canada Type was Tiger Script, Phil Rutter's digitization of Jaguar, Georg Trump's 1967 wild calligraphic brush face. In 2010, when the font was revisited for an update, it was shown that it too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch. This new digitization brings a more seamless contour and a much steadier stroke, and much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates and ligatures were added to the redigitized character set. The name was also changed to Trump Script, to better reflect the origins of the design. Trump Script is a master calligrapher's hand producing very uncommon jolts and bursts of sharpness. It showcases some of the most suprising letter forms ever drawn, like the very unique treatments of B, K, W, Y and Z. In the lowercase one can see the cattiest g ever made, and some of the wildest shapes in the f, j, p, y and z. Trump Script comes in all popular formats. The TrueType and PostScript packages are comprised of two fonts. The OpenType version, Trump Script Pro, combines both fonts into one, and includes features for intelligent substitution in software that supports advanced typography. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.