Leboumar – A Modern Signature Typeface Leboumar, a modern signature typeface, effortlessly merges contemporary aesthetics with the timeless elegance of handwritten script. With fluid strokes and a dynamic rhythm, Leboumar captures the essence of individuality and sophistication. Its sleek, yet expressive letterforms give a sense of personal touch, making it ideal for adding a touch of refinement to a variety of design projects. The smooth and deliberate curves of Leboumar create a harmonious balance between legibility and artistic flair, allowing it to adapt seamlessly to both digital and print mediums. Whether used in branding, invitations, or editorial design, Leboumar stands as a testament to the seamless blend of modernity and personal style in the world of typography. Leboumar is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Brokve is a Croatian word used along the Dalmatian coast. It means “nails", as in the; hammer and nails, variety. It’s tall thin strokes and jutting points give it a very spike-like appearance; suitable for any uses that are intense, jarring or just plain edgy. There is no lower case for Brokve as it is a display font. The upper case serves as both the upper and lower case letters. Brokve has a glyph count of 392 and supports the following languages; Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, and Zulu.

Sign Helpers JNL is a collection of silhouette images carefully redrawn from two distinct sources. Prior to their bankruptcy in 1984, the Holes-Webway Company of St. Cloud, MN produced thousands of their "Webway" sign kits that were utilized by merchants, libraries and schools throughout the country. At one point they included in their sales catalog a selection of die-cut images for embellishing sign work. In the late 50s and throughout the 60s, the Joseph Struhl Company (now known as Magic Master Industries) produced cling vinyl sign kits for business, and a home movie titling set for do-it-yourself film makers. This set also featured die-cut embellishments. A generous selection of designs from both kits have been faithfully re-drawn in digital form to pay tribute to two innovative companies. Other fonts based on products from these companies are Sign Kit JNL (Webway® Sign Kit), Cling Vinyl JNL, and Sign Maker JNL (Magic Master® Sign Kits). Trademarked names are used purely for reference purposes.

Brazilian designer Eduardo Omine designed his Beret family of typefaces in an attempt to create a warm counterpart to the clean, minimalist sans serif of the 20th Century. The most individual characteristics of Beret are the terminals at the ends of its vertical strokes. They are slightly bent", simulating a subtle flare. Like many classic sans-serif typefaces (e.g., the original Syntax and Univers), this family does not include true (calligraphic) italics. Instead, a masterful set of obliques has been created. As Stanley Morison articulated in the early 1920s and 30s, these slanted versions of the regular "roman" faces may even work better when one wishes to emphasize certain words or passages within a text. The Beret family of typefaces is suitable for numerous applications, in both text and display sizes. The following nine fonts make up the family's design: Beret Light, Beret Light Italic, Beret Book, Beret Book Italic, Beret Regular, Beret Medium, Beret Medium Italic, Beret Bold, and Beret Bold Italic. Beret was awarded an Honorable Mention in the 2003 International Type Design Contest, sponsored by the Linotype GmbH."

10 hours a day for almost as long as one anniversary of the Olympics to harvest the experience of designing many typefaces, thinking process and refining the craftmanship throughout these years. From Soin Sans that has been designed and released in 2011 until now, it has come to the right time to push a typeface like Soin Sans itself beyond the boundary, in terms of both usage and equipped features to serve many context of design as perfect as us, Stawix Foundry can offer to you. Soins Sans Neue is the evidence of how Stawix Foundry grows. If one seeks for a type that portrays a simple look, modern but still have a touch of humanist and a little pinch oldstyle, this little one of ours, Soins Sans Neue is the answer we have prepare for you. Technically, we are fully armed with c2sc, cpsp, frac, onum, salt and many more to minimize the chance of choosing other fonts in the project that requires diversities. Without further ado, please welcome Soins Sans Neue!

The Arabetic Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

Flinders is a modern humanist sans serif font family designed by Eko Bimantara in 2023. This typeface is intended to be used for various reading purposes and has letterforms optimized for legibility and ease of reading. The styles of Flinders are a sans serif interpretation of classical roman proportions, characterized by a low x-height, subtle calligraphic strokes, angled stroke ends, and open counters and apertures. Flinders is a versatile typeface that is readable in both large and small sizes. Its legibility makes it an excellent choice for body text in books, magazines, and newspapers, while its modern design and open counters make it well-suited for digital screens and web design. Flinders can also be used for branding and identity design, as well as packaging and signage. Overall, Flinders is a contemporary and readable typeface that is suitable for a wide range of design projects. Its humanist characteristics and modern design make it a unique and versatile option for designers looking for a typeface that combines classical proportions with contemporary style.

Segment B is a powerful display type family with 18 styles inspired by condensed European grotesques of 19th-century with a reference to the first grotesques, which differ in the contrast of strokes, but with clear geometric proportions. In Black weights, the letterforms are inspired by the aggressive industrial graphic design of the 1960s and 70s. Both have 3 axes and are adjustable in weight, width and 10? italic. It is a typeface with narrow proportions, distinctive character, high-quality outline and lots of details. Characters have oblique cuts, sharp tails and highly visible ink traps. All this makes the font more aggressive and edgy. The huge x-height with short ascenders and descenders allows this typeface to be used in blocks with minimal line spacing. Features: – Total glyph set: 631 glyphs; – 18 styles (3 weights x 3 widths + italic); – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; OpenType features: – Proportional numerals, tabular numerals, superiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic alternates (ss01-ss05); – Ligatures; – Case-sensitive forms.

Wozniak is a workhorse sanserif typeface in 16 styles that includes a 16 styles display font on itself. On its default shapes brings a modern, clear and bright personality to the text and a wide range of possibilities by supporting many OpenType features, such as oldstyle, lining & tabular numbers, small caps, inferiors & superiors, discretionary ligatures, numerators & denominators, extended fractions, case sensitivity forms and more, all carefully crafted and balanced for excellent legibility and optimum performance both on screen and on paper. But that's not all, every style also includes two complete uppercase sets of display alternates and more than 180 stylistic ligatures inspired by the digital revolution and the early 80s aesthetics. All this blend into a flexible and multifunctional set of over 1600 glyphs, support for more than 200 latin script languages and the potentiality of use in long text settings, headlines or branding, travelling from modern to vintage with absolute ease and naturality. Wozniak was named after Steve Wozniak as a tribute to the pioneers of the digital revolution.

Intro Script carries with it ideas of resurgence, renewal and unconditional freedom. An updated and expanded version of the Intro Rust sub-family, itself developed from the popular Intro type system, Script comes with 8 different weights and a whole slew of goodies and additional features for you to tinker with. These consist of 3 supplementary fonts with ready-made words, patterns and even banners, so you can put the spark back into your project. The set includes a large number of ligatures and contextual alternates, including both lower and upper case versions, as well as positional variations. The latter allow for symbols to connect at different joints, and help you dodge unnecessary voids, resulting in an efficient work process and a more natural flow. With its broad language support and wide range of OpenType features, Intro Script’s friendly, hand-crafted appearance makes it a suitable and flexible choice for any design. Features: • An updated and polished version of the famous multifaceted bundle • 8 refined monoline styles; • Extended language support; • Supplementary goodies - words, patterns, banners; • Additional ligatures and contextual alternates; • Stylistic positional variations;

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, old style figures, and italics.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

Brim is inspired by antique woodtype and chromatic type from the 1800s. Its various styles stack together creating a variety of decorative combinations. Each style can be assigned its own colour, resulting in a rich assortment of eye-catching combinations. The font began as a handful of letters created for a logotype. It became clear that it would make an excellent display typeface, so it was expanded to include all uppercase letters, numbers, European accents and more. Warm and tactile, Brim produces punchy headlines and decorative titles. Perfect for posters, packaging and logotypes. The name Brim accurately describes the expanded outer edge designed to produce its distinctive outlines. This overlapping structure couldn’t function correctly in wood or metal type; however for digital typography this system produces a more efficient solution for colour type, both in design and smaller file size, important for web typography. Many thanks to Dave Foster, Toshi Omagari, & Terrance Weinzierl, who generously gave their time to guide the design of this typeface. For a flattened version, see Brim Combined

Bodoni Sans is a new classic built on the foundation of two centuries of history. Fresh and contemporary, while feeling familiar. Stylish and sophisticated, confident and elegant. Bodoni Sans is more than just chopping off the serifs. The classical proportions of the capitals and x-heights were maintained, but the letterforms were rebalanced for use without serifs. Contemporary modifications were made to some widths, as well as an all new Light weight was created. High contrast is the key feature of Bodoni Sans. To maintain this contrast over a wide range of sizes, three optical sizes were drawn: Standard, Display and Text. Contrast adjustments were made for each optical size for optimal performance. The Standard was designed for the mid range of 12 to 60pt, Display for 48pt and above, and Text for 6 to 12pt. Web/Digital use was also considered while developing Bodoni Sans. The fonts were tested as web formats, and examined on a variety of screens, to ensure seamless use in both print and digital applications.

Delphi grew from a logotype Lily Feinberg produced using Greek-column-inspired letterforms. As that concept expanded to include more and more letters, the typeface had its beginnings. Intertwined, kinetic, and deliberate, Delphi carves itself onto the page and screen, encouraging variation and experimentation. The letterforms’ unique construction and predispostion for experimentation inspired two varying sets: Delphi Dio, comprised of two-line strokes, and Delphi Tria, built of both 2- and 3-line strokes. With a design as elaborate, yet tightly tuned as this, the desire to add more and more was irresistible—you'll see a number of stylistic, swash, and titling alternates (and even more hidden away in further stylistic sets). Because Dio and Tria could only hold so much, alternate cuts were produced to better organize your options: the Delphi Alt fonts feature certain letter styles and stylistic alternate sets distinct from those in Delphi. Delphi’s sophisticated, striking letterforms make it an ideal display face for use at large sizes, and with so many unique details and alternate letterforms, it’s simply fun to use.

Our Stint Family was originally influenced by extra wide letterform styles and developed later to create an ultra condensed range of fonts and the widths in-between. Highly legible throughout its width & weight ranges, the Stint Pro Family is both perfect for powerful headlines and copy. It also works well for getting as much information as possible into limited realty websites with the ultra condensed widths, as well as when realty on websites and designs is less of a concern and the wider widths can play. A small caps feature within all of the widths and weights gives this family more versatility and a serious tone, while the Stylistic Alternates feature offers a Caps to SmallCaps feature. Reserved and straightforward, with subtle distinctive notes of its own, the Stint Pro Family presents a visually strong yet subdued visual dynamic. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

About the design Spitzkant is a serif typeface family that is characterized by strong contrasts. Pointed, sharp serifs and edges contrast with round and fine forms, making it very individual and expressive. This makes it particularly suitable for branding, editorial, packaging and advertising. The high-contrast display version has been complemented by a lower-contrast text version, making Spitzkant in combination suitable for both strong headlines and extensive body text. An allrounder that can be used for many purposes. Features The Spitzkant Head and Text family has a total of 2 optical sizes, 5 weights and 20 styles, from thin to bold and matching italics. With over 850 characters, it covers over 200 Latin-based languages. It also has an extended set of currency symbols and a whole range of open type features. For example, there are alternative characters as Stylistic Sets, Small Caps, automatic fractions and many other features. Ligatures Especially the extensive selection of ligatures (standard and optional) is a special feature which was an important part during the design process. With over 95 different ligatures there are many possibilities to give headlines and logos an individual touch. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/spitzkant-variable/

Vox Round is the softer version of the Vox family. The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days.

Presenting the 🎃 The Spokill Halloween Typeface 🦇 by alitdesign. The Spokill Halloween Typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Spokill Halloween Typeface has a horror character with a character shaped like distortion character, making the horror Halloween themed design concept even better and unique. The Spokill Halloween Typeface also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Spokill Halloween Typeface, creating a Halloween themed design is very quick and easy. The Spokill 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 Spokill Halloween Typeface contains 800 + 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.

Frogurt is a soft, plump, rounded slab serif font full of fun! Its fat curves make me think of frozen yogurt, and I've always preferred the shorthand "frogurt" to "fro-yo." I was inspired by a 30-year-old hand-carved wooden sign; when I went to try to find a font with a similar look, I couldn't really find anything soft and funky enough! It was a real Goldilocks situation: that one was too thin, that one's corners were too sharp, that one's baseline was too strict. So since I couldn't find something I liked, I made something I liked! I gave Frogurt big pillowy slab serifs, a slightly irregular baseline, and just enough tilt and variation to be fun while still keeping things really clean and readable. The outlines are cleaned up and sharp, so Frogurt will work well for both printing and cutting. Frogurt clocks in with just over 570 glyphs total, including all of the basics (A-Z, a-z, 0-9, and a ton of punctuation), plus over 310 extended Latin characters for language support, and over 50 alternates and ligatures to add some variety and flair. Frogurt is PUA-encoded for easy access to all characters.

JUST Sans is a highly versatile sans serif typeface with endearing, modernist warmth, geometric legibility, and a distinctive friendly bite. Designed as a professional modern geometric sans serif, JUST Sans is both serious and friendly, neutral but warmly expressive, technical but not overt, and familiar but unique enough to stand on its own. With open-airy characters and a generous width, JUST Sans has an elegant contemporary feel, with sharp angled terminals that give it grip and make it so expressively endearing. With a clean, simple, and minimal aesthetic, JUST Sans is a functional workhorse with 7 weights, complete Latin extended language support, precise hand-adjusted kerning, and a variable version for maximum versatility. JUST Sans includes hand-hinted web fonts optimized for clear, legible text on screens making JUST Sans perfect for the web as well as logos, branding, headlines, paragraph text, UI, signage, packaging, posters, and industries rooted in technology, new media, architecture, fashion & design. With its universal functionality & characteristic bite, the JUST Sans family is an essential addition to your type arsenal, even if just for those beautiful stylistic numbers. For lovers of modern sans serif fonts who are looking for something a tad more warm, open & expressive, JUST Sans is for you.

Bill Corporate is a geometric typeface with generous capitals. A modern classic, based on Max Bill’s lettering work, its straightforward and uncompromising construction can be both edgy and sublime. With minimalist letterforms, pointy apexes instead of flat ones, and archetypal proportions, this font family doesn’t follow any trends but strives to achieve a timeless formal vocabulary. The skeleton of its letters is based heavily on the famous primary shapes of the Bauhaus: square, circle, and triangle. This makes for quite wide uppercase and much narrower lowercase letters. The contrast between uppercase and lowercase benefits inexperienced users, who will be able to get appealing results quickly. At the same time, it’s a powerful tool for seasoned designers, who can employ either case selectively to set the desired typographic course. Bill Corporate Medium’s 16 styles (including a set of eight lighter-than-light fonts from “Two” to “ExtraLight”) are an excellent choice for editorial design, branding, headlines, and even short to mid-length copy in a wide range of applications and industries. The uppercase letters in particular—with their varied widths and lavish dimensions—are suitable for cosmopolitan and stylish logotypes and wordmarks. Whenever a timeless, staid, and classy look is demanded, choose Bill Corporate.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

[Noah PDF Type Specimen] [Download 4 Free Fonts] Noah is more than just another geometric sans. With sharp details and a distinctive arrangement, it further extends the limits of the x-height, providing unparalleled flexibility. The specific structure is paired with normal width proportions, moderate contrast and vertical stress – making Noah well suited for a wide range of typographic purposes. This type family consists of 72 fonts divided into four subfamilies with different x-heights – ranging from Noah Grotesque at the bottom, through Noah and Noah Text, and extending to the highest one – Noah Head. The entire set includes styles from Thin to Black, with matching true italics and supports Extended Latin and Cyrillic scripts in more than 130 languages. The inclusion of terminals with a humanistic flavor and typographic letter alternates, such as the binocular “g” or the geometric “a”, offers a blend of the best aspects of both geometric and grotesque typeface classics. Noah features 4 weights that are available completely FREE. Features: • Over 650 glyphs in 72 styles (Thin to Black) • Extended Latin and Cyrillic scripts for more than 130 languages; • 4 different x-heights; • Normal width proportions; • Moderate contrast and vertical stress; • Geometric characteristics and terminals with humanistic flavor.

Presenting the 🎃 The Mironta Halloween Typeface 🦇 by alitdesign. The Mironta Halloween Typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Mironta Halloween Typeface has a horror character with a character shaped like distortion character, making the horror Halloween themed design concept even better and unique. The Mironta Halloween Typeface also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Mironta Halloween Typeface, creating a Halloween themed design is very quick and easy. The Mironta 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 Mironta Halloween Typeface contains 623 + 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.

Nanami Rounded is a heavily engineered follow up to the hugely successful Nanami, which debuted at MyFonts #1 Hot New Fonts for over 2 weeks. Nanami Rounded is a carefully engineered take on the original Nanami family. We kept the curve very slight in order to keep the clean corporate balance, and not to go into a style that was too friendly. Nanami Rounded consists of 18 weights ranging from Thin through to Black. It has also extensive support for over 50 languages, and as a font family that works well both in headlines and bodycopy, Nanami Rounded is the perfect choice for a whole variety of creative briefs. The gentler, softer follow-up to the popular Nanami, Nanami Rounded is also motivated by the artistry of Japan. Smoothing the hard lines and definite corners of its predecessor just slightly, Nanami Rounded is still clearly defined and crisp enough to work in whatever context you need. If Nanami is a battle hardened Samurai, Nanami Rounded is the lotus blossom favour handed to him as he leaves his home village to go to war. If Nanami Rounded isn't quite floating your boat why not check out it’s counterparts Nanami and Nanami Handmade.

Presenting the 🎃 The Noganas Halloween Typeface 🦇 by alitdesign. The Noganas Halloween Typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Noganas Halloween Typeface has a horror character with a character shaped like distortion character, making the horror Halloween themed design concept even better and unique. The Noganas Halloween Typeface also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Noganas Halloween Typeface, creating a Halloween themed design is very quick and easy. The Noganas 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 Noganas Halloween Typeface contains 797 + 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.

Leo is an economic magazine and book face meant for use in sizes suitable for immersive reading, with different cuts optimized for different body copy size ranges, like footnotes and legal text. Designed with the explicit intent of relaying information without calling attention to itself, this typeface places itself squarely on the "function" side of the eternal debate about form versus content. The roman Leo fonts were built with as little ornamentation as possible, with wedge serifs, a high x-height and a skeleton somehwat rooted in the designers' reflections on the modern, post-war Dutch archetype. Rather than follow traditional models with entirely different forms, contracted widths and steep slants, the Leo italics deliver naturally subtle emphasis in reading by closely relating to the forms, stance and rhythm of their roman counterparts. The 12 Leo fonts contain over 700 glyphs each, and include support for the vast majority of Latin languages. Included OpenType features are built-in small caps, lining and oldstyle figures in both proportional and tabular sets, superiors, numerators, denominators inferiors, ordinals, automatic fractions, ligatures, and optional long descenders for optimal counterspace management in book and magazine text layout. For more information on Leo's character set, features and some print tests, please consult the PDF in the gallery section of this page.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Bambusa Pro is a sturdy expressive modern calligraphy family of 4 fonts: Regular, Bold, Basic and Ornaments. It owes its name to the bamboo pen that was used to draw all of the characters and swashes. The typical ink-strokes of the bamboo pen give Bambusa Pro a distinctively different appearance than dip pen calligraphy fonts like Salt & Spices Pro. Similarities between the two are a wide variety of long swashes that connect to the first and last letter of a sentence or name. But with Bambusa Pro this even goes for accented characters, and all upper and lower case letters. Together with five different connecting spaces you can create phrases that look as if the pen was never lifted from the paper. Like Stylist Pro all characters of Bambusa Pro connect to each other, both lower case and upper case letters and vice versa. Bambusa Pro Basic also is hand-lettered with a bamboo pen, but is a lot more straight forward. It combines beautifully with the connected styles Regular and Bold. On top of that Bambusa Pro Ornaments offers 100+ glyphs for additional designs possibilities. Enjoy! You will need an opentype savvy application to get the most out of Bambusa Pro.

Garet is a modern geometric sans serif. It is characterised by high x-height, clean and soft letterforms with a smooth masculine tone. Garet derives its distinctive oval shapes from the optically perfect circle and has closed counters to further emphasise that form. The Garet type family consists of 11 weights ranging from quite thin to extremely fat and their corresponding Italics to make a total of 22 fonts. And all of them are combined into one variable font that will give you unlimited opportunities to explore and express without the restrictions of the predefined weights. We understand the need for more extensive language support. That’s why the typeface includes Extended Latin and Cyrillic and covers more than 200 languages. Garet also comes with several alternative stylistic sets that will change the overall look of a paragraph, giving it a slightly different appearance. In addition to that, the type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case-sensitive punctuation, and more. Тhe wide variety of weights, characters, and additional features allow Garet to be implemented equally well both in print and on-screen media.

Bodrum Collection: 1- Bodrum Sans 2- Bodrum Sweet 3- Bodrum Stencil 4- Bodrum Slab 5- Bodrum Styte 6- Bodrum Soft Bodrum Stencil is a stencil serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. Bodrum Stencil is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give "Bodrum Stencil" a harmonious and sensible appearance for both texts and headlines. Bodrum Stencil provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Stencil 14 Regular” forms the central point. "Bodrum Stencil" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Stencil is the perfect font for web use.

Gogh is a geometric sans serif with a modern look and traditional spirit. It blends evenly without overly distracting the reader, yet still keeps a rich and distinctive character. The generous x-height, easily distinguishable glyph forms, and open terminals help the eye perceive a block of text smoothly, making it clearly legible. Gogh thrives when used both on-screen and on print media. Gogh type family consists of 10 weights from Hairline to Black and their matching Italics. Gogh is also available as a fully functional variable font, which gives unlimited opportunity to explore typography without the restrictions of predefined weights. Gogh Variable is also the best option if used on the web as it has a much-reduced size compared to the original font family. Regardless of which Gogh family you choose, the typeface covers a broad spectrum of languages, as it includes Extended Latin and Cyrillic. And it also comes with an alternative stylistic set that will completely change the overall look of a paragraph, giving it a more contemporary and display appearance. In addition to that, Gogh type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case sensitive punctuation, and more.

Presenting the 🎃 The Zukones Halloween Typeface 🦇 by alitdesign. The Zukones Halloween Typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Zukones Halloween Typeface has a horror character with a character shaped like distortion character, making the horror Halloween themed design concept even better and unique. The Zukones Halloween Typeface also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Zukones Halloween Typeface, creating a Halloween themed design is very quick and easy. The Zukones 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 Zukones Halloween Typeface contains 663 + 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.

Bold, muscular, vaguely oriental, Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. The straight-forward, no-nonsense name tells us exactly what to expect: sans-serif letterforms based on wedge-shaped vertical strokes. The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. What is the opposite of "straight-forward" anyway? According to McGrew, Wedge Gothic was originally created for the Chicago Herald newspaper. The designer is unknown. A distinctive display face, useful when a strong and unusual statement is desired. Wedge Gothic ML features: 1. Glyphs for the 1250 Central Europe, the 1252 Western Europe, the 1254 Turkish and the 1257 Baltic Code Pages. Total of 335 glyphs. 2. OpenType GSUB layout features: pnum, ornm, hist & salt. 3. 66 kerning pairs. 4. Both tabular & proportional numbers. 5. Alternate bullets. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days. For additional versatility, take a look at Vox Round, the softer, but just as extensive, counterpart to this family.

You can download Bodrum Soft PDF Type Specimen here . "Bodrum Soft" is a rounded sans serif type family, designed by Bülent Yüksel in 20018/19. The font, influenced by serif styles that were popular in the 1920s and 30s, is based on optically corrected geometric forms for a better readability. "Bodrum Soft" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances helps the legibility and gives "Bodrum Soft" an harmonious and sensible appearance for both texts and headlines. Bodrum Soft provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. “Bodrum Soft 14 Regular” forms the central point. "Bodrum Soft" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Medium, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures can be accessed with one simple touch in all graphic programs. Bodrum Soft is the perfect font for web use. I hope you enjoy using it!

Presenting the 🐈‍⬛🌙🎃 The Beat Ghost Halloween Typeface 🐁🌙🎃 by alitdesign. The Beat Ghost Halloween Typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Beat Ghost Halloween Typeface has a horror character with a character shaped like distortion character, making the horror Halloween themed design concept even better and unique. 🐁🌙The Beat Ghost Halloween Typeface also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Mouse Moon Halloween Typeface, creating a Halloween themed design is very quick and easy. The Mouse Moon 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). 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.