Presenting the 🗯️💬The Browood Layered Comic Font💬🗯️ by alitdesign. The Browood Layered Comic Font is inspired by the style of letters in comics that have less serious and fun characters. The lettering of the Browood Layered Comic Font is a sans serif with display font characters which gives a fun and design impression for children. The Browood Layered Comic Font has 3 layered font. The Brootahh font is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The Browood Layered Comic Font also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The Browood Layered Comic Font creating a Comic and non formal themed design is very quick and easy. The Browood Layered Comic Font is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. 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 Browood Layered Comic Font contains 544 + 230 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.

Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

Introducing Gunec, a cutting-edge and futuristic font ideal for technology- and science-related designs. Gunec is the ideal choice for anyone looking to add a touch of futurism to their work thanks to its distinctive letterforms and svelte lines. The versatile font Gunec can be used for a variety of tasks, such as branding, packaging design, book covers, and more. However, Gunec is more than just a pretty face. This font is ideal for all of your design projects, from print to digital, as it is made to be highly legible and simple to read. Additionally, Gunec has all the elements required to produce a comprehensive and professional design, including a full set of upper- and lowercase letters, punctuation, and numerals. With Gunec font, you’ll be able to create designs that are both stylish and professional, with a futuristic look that’s sure to stand out. This font is perfect for those who want to be ahead of the curve in design, and for those who want to add a touch of innovation to their work. So don’t wait, make Gunec your font of choice today, and take your designs to the next level! What’s Included : - File font OTF, TTF, WOFF, WOFF2, CSS, HTML - All glyphs Iso Latin 1 - Alternate - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Ordinary Boys - Elegant Font Duo is a delightful and versatile font combination that consists of a modern sans-serif font and a playful handwriting font. With a perfect blend of modern elegance and fun, this font duo offers creative possibilities for various design themes. The sans-serif font exudes sophistication and is ideal for modern and elegant projects, while the handwriting font adds a playful and enjoyable touch, perfect for fun and lighthearted designs. Whether you're creating logos, headlines, titles, invitations, greeting cards, printing materials, or designs for children, Ordinary Boys will bring charm and character to your projects. The modern and playful style of Ordinary Boys is what sets it apart. The sans-serif font showcases clean lines and a sleek design, conveying a sense of elegance and professionalism. On the other hand, the handwriting font injects a fun and whimsical vibe, adding a touch of enjoyment and personality to your text. The versatility of this font duo allows you to seamlessly switch between elegant and playful designs, making it suitable for a wide range of projects. Ordinary Boys - Elegant Font Duo brings the best of both worlds to your design projects. Its unique combination of modern elegance and playful fun allows you to create a diverse range of designs, catering to different themes and styles. Whether you're designing for sophisticated brands or playful children's themes, Ordinary Boys will elevate your designs with its charming and delightful touch, making your projects truly stand out with its versatility and character.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

"Chubs," a typeface specifically designed for large display sizes, perfect for making a bold statement. Each letter in Chubs has been meticulously crafted to possess a thick and prominent appearance, ensuring that your designs leave a lasting impact on viewers. Chubs's distinctive weight and blackness make it an ideal choice for a wide range of applications, including posters, packaging, and logos. Whether you want to create eye-catching promotional materials or design a powerful brand identity, Chubs has got you covered. Within the Chubs typeface family, you'll find two distinct styles, each with its own personality and visual appeal. The first style, "Chubs Black," features letters with a captivating slit, reminiscent of a belly that overlaps. This distinctive groove adds an extra layer of visual interest and uniqueness to your designs. On the other hand, "Chubs Filled" offers a solid and plump appearance, without the characteristic slit. This style amplifies the chubby nature of the letters, resulting in a bold and impactful display. To further enhance your creative options, both styles within the Chubs family include an alternate character set featuring a wink shadow in every letter. These additional characters provide a touch of fanciness and playfulness, allowing you to experiment and add unique elements to your designs. Choose "Chubs" for your next big project, and witness the boldness and charm that sets your designs apart from the rest. Let Chubs bring your ideas to life and make a powerful visual statement that captures attention and leaves a lasting impression.

This monospaced version of Galix was commissioned in 2037 by the space exploration company Earth2, as part of a major overhaul of their branding, which had used, since 2021, a generic sans serif (much like every other company). Many specialists in both design and space exploration suggested that this very rebrand started a chain of events that concluded with the invention of time travel in 2041. Contrary to the perceived notion put forward in popular Science Fiction, time travel is only (as of now) possible in the digital realm. It was considered fitting that included among the first files sent back in time should be the Galix Mono typeface, which was remade in OTF format to ensure that it would work with the technology available in 2019. Earth2, for all their insight, did not foresee that the release of the typeface in September of 2019, would lessen the impact of their rebrand. What kind idiots would rebrand a forward looking company with a font that was, by then, almost 18 years old? The subsequent lacklustre response to the redesign didn’t inspire the tidal wave of R&D funding Earth2 had anticipated, and the company went into administration in the summer of 2039, having never invented the time travel which made the release of Galix Mono in 2019 possible. Experts believe that the files sent back in time, although their very sending made it impossible for them to be sent, remained as “time relics” of the future that might have been.

East is a simple and confident typeface. It is timeless and current, but with a subtle nostalgia of vintage Jazz albums, film credits, newspapers, and signage. The light weight has excellent legibility at small sizes. The Extra Bold weight will capture attention. Its condensed width allows a lot of text in little space. East is versatile, but would be a good choice for film titles, labels + packages, posters, publications or any design where space is limited. It has six weights between Light and Extra Bold. A variable font with weight and slant axes is available and included in a full family purchase. The OpenType features include; stylistic sets, a one story ‘a’, hooked letters, seriffed uppercase I and 1, a slashed zero, raised colon and punctuation (Spanish), several German eszetts, ligatures, diverse bullets, and vertically stacked pre-built fractions. It will support western and central European languages as well as other Latin-based written languages. Read on if you are not familiar with variable fonts. What makes a variable font special is that all font weights are inside of one file and you can incrementally control the width and italic slant between Light (300) and ExtraBold (800). These changes are commonly made with slide controls in the font/type palette of the software. Variable fonts are also smaller in file size, which benefit both web and software performance. Currently variable fonts are supported by Adobe, Sketch, Corel Draw, and most web browsers. Check for your software support here: www.v-fonts.com/support.

Groundage is a Gothic Blackletter font that offers three styles: Outline, Regular, and Shadow. With its bold and clean calligraphic strokes, this typeface boasts a modern-vintage look that exudes elegance and masculinity. Its Y2K-inspired design makes it perfect for stylish posters, marketing materials, logotypes, and headlines. Additionally, it is great for art and craft projects, y2k-streetwear designs, and much more. What sets Groundage apart from other Gothic Blackletter fonts is its unique combination of traditional and modern design elements. Its clean lines and bold strokes give it a contemporary feel while its Blackletter roots pay homage to its historical origins. Groundage also includes both Latin and Cyrillic character sets, making it a versatile option for a range of projects. This font pairs well with other modern-vintage fonts and looks great alongside sans-serif fonts for contrast. Its three styles allow for versatility in design and can be used for a variety of creative projects. Groundage was designed with the intention of creating a stylish, masculine font that could be used in a variety of contexts. Its Y2K-inspired design concept was chosen to evoke nostalgia while still feeling fresh and modern. The combination of traditional Blackletter elements with a contemporary twist creates a unique aesthetic that stands out from other fonts in its category. Groundage is not based on any historical design, but its Blackletter roots pay homage to centuries of typographical tradition. Its modern twist on the classic Gothic style creates a unique and versatile font that can be used in a range of creative projects.

Elevate your design projects with Cooker Cake, a vibrant and playful sans serif display font. With its charismatic style and versatile nature, this font adds a touch of excitement and creativity to any typography-based endeavor. Whether you're designing logos, posters, headers, or website elements, Cooker Cake will captivate your audience and make your text pop. Cooker Cake features all capital letters, giving your designs a bold and impactful appearance. The font also includes a wide range of numbers and punctuation, ensuring that your compositions are complete and functional. Its multilingual support allows you to incorporate various languages seamlessly, making it ideal for global projects. One of the standout features of Cooker Cake is its PUA (Private Use Area) encoding. This means that you have access to additional special characters, glyphs, and ligatures, expanding your creative possibilities and enabling you to add unique flourishes to your designs. Let your imagination run wild as you explore the various alternates and stylistic options available in this font. With its sans-serif style, Cooker Cake strikes the perfect balance between modern aesthetics and a playful vibe. It works harmoniously in both digital and print formats, making it suitable for a wide range of applications. From branding and packaging to social media graphics and advertising campaigns, this font will bring a sense of joy and energy to your projects. Experience the versatility and captivating charm of Cooker Cake Sans Serif Display Font. Let its playful and dynamic personality infuse your typography with excitement.

Resist Sans is a free-spirited neo-grotesque that embodies both the innate desire for revolt and a tendency towards uniformity. While Resist Sans preserves the neat, minimalist look which is associated with neo-grotesques, it also accentuates the tentativeness of each letter form. The name, too, hints at the rebellious character of the typeface. Resist Sans comes in 28 styles (14 uprights and matching obliques). Text vs Display Resist Sans comes in two versions: Display and Text, which serve different purposes but remain interchangeable and even complementary in some cases. Resist Text is equipped with deep ink traps and optical compensators, which really come into play at smaller sizes. The Display version is smoother and more consistent, so better for use in larger sizes and headlines. Styles/Weights Each of the two versions of Resist Sans comes in 7 weights (Thin to Black) and is equipped with matching Obliques, which brings the total number of styles to 28. Two trial styles (Text Light and Display Medium Oblique) can be downloaded free of charge. Each style contains 900+ glyphs, awesome OpenType features, and around 1500 kerning pairs. Language Support Resist Sans is truly multilingual. It supports most European and Latin-languages and features Extended Cyrillic, which gives access to such languages as Ukrainian, Bulgarian, Serbian, Russian, Macedonian and many more. Free Styles Two styles of Resist Sans can be downloaded for free on MyFonts. Type Specimen Resist Sans PDF Type Specimen can be downloaded here: Resist Sans PDF Type Specimen

‘Technical Scripture’ 2015-2021 A manuscript look, Pixel labyrinthine Display Type System… Plus, an Optical “Layered Game”, Retro Futuristic Sci-Fi Digital interface evolving placeholder… Now with 3D Styles! It was designed as a pair to its brother font ‘Technical Signature’ a Small Caps Font, both inspired by antique Greek, mosaics zig-zag ornaments “ancient times computer” intentionally as a Romanic variation with same metrics... Searching for Technical Solutions, it resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better style linking with correspondent renamed fonts, addition of automatic OT features encoding, 3D Styles and Italics. Ps. This actual Typeface was quickly re-edited for technical reasons and hasn’t yet reached the intended design, it will soon receive a more tangible redesign upgrade, mainly in lowercases to enhance cursive style. Due to other priorities. Tip: Give preference to THE LYSERGIC UPPERCASES! Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is pleasant to Technician Compositions, Such as Briefs layouts manuscript, Old Engineering & Crafts Logos or Support Text, Op-Art Posters, Stamps, Labels, movies and Cartoons Ludic Scripts, sites and of course Video Games! Try ‘Technical Scripture’ & Have some Power to the Pixel! Padang!

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Called by some the "Archetype of the millennium", Verve is a seven-weight typeface family. It features a complete Adobe character set with kerning and fit to match. The alternate characters offer some variations on s,f,h,j,k,S,T,Y and others, plus this font has the Euro symbol. Verve is the fourth in an on-going series of condensed typefaces that I’ve been designing since 1989. My concept was to create an elegant condensed typeface that would be a "typeface for the millennium," in style and functionality. At the very core of all my designs is a typographic problem I wanted to solve, or a market niche that I think needs filled. Verve addresses both of those concerns, without copying or borrowing from its predecessors. There’s the challenge of creating a rich and interesting typeface with an austerity of line and elegance of form. I’m a minimalist by nature – but I wanted Verve to have a sensuous feel in certain respects – yet have that sensuality balanced by the uniformity of the uniform character widths. Gottfried Pott always stresses "theme and variation," and "point and counterpoint," and that’s what I’m doing in Verve. What one finds in musical composition is evident in Verve. Perfect for book covers, CD packaging, club flyers, retail packaging (especially bottles!), identity design and multimedia. The adventurous can try it in text, but it will give you a headache. The beauty of Verve is in thesize and weight variations which create a rich typographic texture in this font.

Span is a modern chiseled style family that flaunts its engraved heritage with sweeping serifs and sculptural forms. Bridging the contemporary and traditional, Span appears exuberant yet dignified. Designed primarily for luxurious headlines and titles, Span’s strong vertical stress is softened by elegant organic curves while its compact height accentuates the deep serifs. The family offers five weights, each with three widths and italics. The condensed styles provide an invaluable advantage when designing within narrow spaces. Span’s italics strike a balance between true italics and oblique letterforms to create a change in rhythm while preserving its chiselled style. A variety of additional features enhance Span's typographic capabilities including restrained swashes and flourishes are available in both roman and italic styles. Span also introduces an additional set of capitals for exceptional typographic control over uppercase settings. ‘Mid Caps’ sit midway between full-height capitals and lowercase letters and extend Span's title setting options to All Capitals, Capitals with Mid Caps and Capitals with Small Caps. Choose Span and take full control over your title settings and produce classic typography with statuesque poise. Overview: 30 styles comprised of 5 weights, 3 widths and accompanying italics Additional features include alternate characters, swashes, Small Caps and Mid Caps 987 glyphs per style See the Specimen Supported Languages: Albanian, Asturian, Basque, Breton, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, Filipino, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Malay, Maltese, Moldavian, Norwegian, Occitan, Polish, Portuguese, Romanian, Samoan, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof, Zulu

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

Introducing Goxac is a boldly shaped font that gives any project a cutting-edge, futuristic feel. Goxac’s slick lines and distinctive letterforms give your text a contemporary appearance, making it ideal for designs with a science fiction or technological theme. Goxac is the perfect tool for designing eye-catching headlines, posters, and social media graphics because of its bold aesthetic and futuristic theme. They are ideal for branding projects, packaging designs, book covers, and more due to their distinctive letter shapes. With a complete set of punctuation and numbers, Goxac is available in both upper- and lowercase letters. This multipurpose font is ideal for designers, marketers, and anyone looking to add a touch of futurism to their work because it has four different variants. With the Goxac font, rest assured that your designs will look unique, stylish, and futuristic. This font is perfect for those who want to stand out in the modern era, and for those who want to give their designs a touch of innovation. Goxac is a must-have for anyone looking to create a plan that really stands out. So don’t wait, make Goxac your font of choice today, and take your design to the next level! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Introducing "Masked Hero," a dynamic and commanding font that stands tall as a bold, oblique, all-cap typeface. This font is not just a collection of letters; it's a visual narrative of strength, speed, and superhero prowess. "Masked Hero" takes typography to new heights by incorporating uppercase letters adorned with intricate wing patterns, elevating your design into a powerful champions. The uppercase characters in "Masked Hero" aren't just letters; they're symbols of superheroic identity, each adorned with wing-like patterns that evoke a sense of flight and strength. These letters become the emblem of your design, embodying the essence of masked heroes ready to leap into action. To provide designers with unparalleled flexibility, "Masked Hero" is equipped with alternates for both uppercase and lowercase letters. This feature allows you to customize the appearance of your text, giving you the creative freedom to push the boundaries of typographic design. The alternates enhance the visual impact of your message, ensuring that every word becomes a statement. With a sharp and bold aesthetic, "Masked Hero" is tailor-made for projects that demand speed, strength, and a touch of superhero flair. Whether you're designing a logo for a masked vigilante, creating dynamic sports-themed graphics, or crafting the name of a superhero, this font is your ally in making a bold statement. Masked Hero offers you: 1. 4 options of letters, All Caps (All options of the characters are included in one font) 2. Numbers and Punctuation 3. Multilingual Support (Latin Western Europe)

A revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic, Lexington is the ultimate art deco expression of the high times of signage and theater during the first half of the twentieth century. Big feminine caps and cozy direct minuscules make for a unique combination rarely found in other deco faces. Topped off with the humorous and quite suave tall and pointy ascenders and descenders of the alternates, Lexington makes for a versatile and uniquely eye-catching display face beneficial to poster art, book covers, classy menus, product packaging and music paraphernalia. The original specimen Hans van Maanen worked from showed the majuscules, minuscules, figures, and 4 alternates of some ascending minuscules. This new digital version includes all of the above, plus many more additions: - Plenty more alternates, for some caps as well as for all the ascending and descending lowercase. - Three different size variations for the comma and the period. - Oldstyle figures. - A full complement of accented characters to support more Latin-based languages than ever, including Baltic, Celtic, Turkish, and Central/Eastern European languages. - A Handtooled style variation that covers both the main character set and the alternates. Lexington was named after Manhattan's Lexington Avenue, home of the some of the most famous and polished art deco architecture of the 1920s and 1930s. Lexington and Lexington Handtooled come in all popular font formats. The OpenType versions combine their respective alternates with the main character sets, for ease of use within OpenType-savvy applications.

Dolsáb was designed from scratch with uniqueness in mind. The subtle movement from thick to thin and the variants of sharp to rounded make this cutting edge san serif a must have. The inspiration for Dolsab was a simple pairing of a rhombus and calligraphy. While neither of those two elements can be seen in their entirety in any instance, the influence of both is strong. The rhombus can be notice on most ascenders like on the lowercase t & l, for example. And the calligraphy inspiration is most easily captured on the descenders such as the lowercase y & g. The most beautiful characteristics of Dolsab is definitely the calligraphy-influenced movement. These features really stand out on the lowercase a & e. It's almost amusing to let your eye follow the contours of those two letter forms as they travel from thick to thin, sharp to rounded and back again. Users are welcomed to try all font styles of Dolsab in any applique of their choosing. However, it will be quickly noticeable that only Dolsab Air & Demi (the thiner of the styles) will be best suited for body copy. Personally I like to see these letterforms as large as they can be to really showcase the subtle movement, especially in Dolsab Heavy where these movements become much more dramatic. You'll never know what really works best unless you experiment. Dolsab surely isn't the answer to all projects, but it's certainly worth trying. No other typeface moves quite like Dolsáb.

Wedding Regular was originally designed by Morris Fuller Benton for ATF and released as Wedding Text in 1901. It is a lighter version of his ENGRAVER'S OLD ENGLISH of the same period. Wedding Regular is based on the Textura style of blackletter that continued in popularity in England into the 16th century, long after the Dutch, French and Italians had moved to a Roman model that expressed the Renaissance humanism of the period. Wedding Headline is a still lighter version of the regular text face, suitable for setting larger sizes while still preserving the delicacy of the decorative hairlines. Textura continues in use in England and the United States for newspaper mastheads, gift shop signs, wedding invitations and programs and other applications where a feeling of tradition is desired. I recently saw an 1980ish photo of a “Tubby Isaac” sign in London using textura. I believe Benton’s design captures that feeling without being heavy-handed and still remaining quite readable for eyes accustomed to Roman lettering. Both Wedding Regular and Wedding Headline convey a comfortable familiarity. These two fonts may be purchased together at an attractive discount or they may be purchased separately. The full character set may be found in the pdf file that you can download from the gallery section. The two monks (alt-0172 and alt-0177) are from a set of sixteenth century decorative initial letters by Gering and Renbolt. Please note that there are two different eszetts, the blackletter style at alt-0126 and the antiqua style at the alt-0223.

Good, faithful Achates… Named after the trusty Trojan that followed Aeneas throughout his adventures, Achates is a humanist sans workhorse well suitable for broad range of design projects. Its soft, delicate and almost cursive shapes define warm and friendly typeface that is legible and easy on the reader's eye. Following into the footsteps of its namesake, it is humble, informal yet stable and trustworthy. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Achates provides a broad range of advanced typographical features such as language localization, alternates, stylistic alternates, extended ligatures, fractions and case-sensitive forms. It comes with a complete figure range set of old-style, lining and tabular figures. The family has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic with Bulgarian and Russian localization. As Achates was a humble hero, a devoted friend and faithful companion to Aeneas on his journey to greatness, so this font can be your trusty sidekick on your creative path. The marvelous Agate is also named after the Trojan hero. It is considered as the stone to call on for support when you need stability and grounding in your life. Along with its supportive energy, the Agate stone has been long admired for its incredible beauty. So… a Trojan hero or a thing of beauty – it is up for you to decide… or just maybe both!

Vigo is a combination of both slab serif and sans serif elements, giving it a unique and dynamic look that’s perfect for any design project. The primitive lines and muscular serifs give Vigo its character, making it perfect for any design that needs a bold and powerful typeface. So why not hop on Vigo for a spin? With its distinctive style and retro flair, it’s the perfect typeface for any design project that needs to stand out from the crowd. Try Vigo today and give your project the vintage charm it deserves! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding. The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

Introducing the September Spirit Font Duo! A hyper-realistic handwritten font duo, which utilises a large range of ligatures (uniquely designed letter combinations), and alternate characters—all taken from real handwritten words—to achieve an incredibly natural handwritten style. As well as the fast-flowing handwriting font, September Spirit also include an all-caps version, great for combining with the regular font for adding emphasis to words, or even as it's own standalone font. Not only that, a bonus font of extra circles, underlines & arrows is included to add even more emphasis and an additional hand-crafted aesthetic. The September Spirit family includes; September Spirit • A fast-flowing handwritten font containing upper & lowercase characters, numerals, and a large range of punctuation. September Spirit Alt • This is a second version of September Spirit, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. September Spirit All Caps • An uppercase-only font, perfect for pairing with the regular September Spirit fonts to add emphasis to words or phrases. September Spirit Extras • A bonus font containing 19 hand-drawn arrows, cirlces and underlines. Ideal for adding to your September Spirit text for extra emphasis. Language Support • September Spirit supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Description Chordette for Guitar Chord Fonts are tuned EADGBE. Create a guitar chord chart or chord sheets quickly and easily. Guitar Chord Fonts Chordette contains high quality guitar chord fonts. Each guitar chord is mapped to a specific key on the keyboard, so you can type out chords. It’s a lot easier than dealing with images to create a guitar chord chart or song sheet. It’s a favorite tool for teachers, music therapists, and musicians. What instruments are supported? Chordette for Guitar is tuned EADGBE and supports Guitar. Chordette is available in multiple tunings for most stringed instruments. Most versions of Chordette support multiple instruments. App / Instruments Supported / Tuning Chordette for Guitalele / Guitalele, Baritone Guitar / ADGCEA Chordette for Ukulele / Concert Ukulele, Banjolele / GCEA Chordette for Soprano Uke Soprano Ukulele ADF#B Chordette for Baritone Uke / Baritone Ukulele / DGBE Chordette for Mandolin / Mandolin, Irish Tenor Banjo, Irish Bouzouki / GDAE Chordette for Banjo / Banjo /gDGBD Chordette for Tenor Banjo / Tenor Banjo, Tenor Guitar, Mandola / CGDA Chordette for Guitar / Guitar / EADGBE Each version of the Chordette font uses the same chord sets and keyboard mappings. If you play multiple instruments, you can create a chord sheet for one, then use another Chordette font to transpose the song to another. For example, you can create a song for Mandolin, then instantly transpose it for Guitar and Ukulele - just by changing fonts! Chordette for Guitar is priced at $10, which includes the guitar chord font sets for both Mac and Windows. For help and support, please visit http://ukefarm.com/chordette/help.html

Introducing Sanctum Island an handwritten font with a high detailed dry brush texture. Sanctum Island has been designed to fit a wide range of projects from urban style to classic branding with a characters set to completely change the look of your design. You can use it for business branding, Instagram quotes, blog headers, fashion apparel, stationery and more... Please note that Sanctum Island includes both standard and alphabets. Sanctum Island includes: Sanctum Island • A dry brush script font with uppercase and lowercase characters, ligatures, numerals and punctuation. Kingston Extras • A full set of brushed elements : 52 hand-drawn swashes, doodles and paint drips. How to use Sanctum Island Extras To use the Sanctum Island Extras characters simply install the Sanctum Island Extras.otf file, select it from your font menu and type any letter from uppercase A to lowercase z to have a swash or a paint splat. You can refer to the Sanctum Island Extras Map Character included in the folder to see which letter correspond to which element. Multilingual support Sanctum Island supports multilingual characters for western, central and south-east European languages. Feel free to message me if you're unsure of any language support. More Sanctum Island is compatible with any software that can read a standard font, though ligatures require a software that is Opentype capable. Most programs now are compatible with Opentype features. Fonts are provided in OTF and TTF. Any question? Feel free to contact me i’ll be glad to help you :) Enjoy!

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

Hanna has its roots in the Plato and Cilantro fonts published earlier by Wilton Foundry. It is an informal roman and very legible at any size - a rare combination for many applications. Hanna was specifically designed to generate additional income for an orphanage in Ethiopia. Hanna Teshome runs an orphanage of roughly 140 children in Addis Ababa, Ethiopia. She is an amazing lady with a deep passion for orphan kids as well as innocent kids that find themselves in jail because their mothers have been imprisoned - they are treated as prisoners and are typically sexually abused - it is not uncommon for them to commit suicide when they are released from jail at age 18. Most of the orphans end up with Hanna because one or both of their parents have died from AIDS. Hanna relies entirely on donations to keep her orphanage running and this font is a small but tangible way for you to help make a difference in the lives of the orphan kids. I am committed to helping Hanna after visiting the orphanage several times and seeing the jails from where the kids have been rescued. Hanna is my hero because she stepped out of her comfort zone, with no financial support, to take care of the kids. My hope is that you will use this font as a messenger of good. All of Wilton Foundry royalties for this font will go to the support of Hanna’s orphanage in Ethiopia. Thank you in advance for your support on behalf of Hanna and the kids!

Bex Script is a riff on traditional French script forms: the Bâtarde, the Ronde, and the Coulée. It has two versions: First, there’s La Belle, a straightforward, lovely interpretation of the script form, suitable for things like invitations, poetry and branding. La Belle’s evil twin is La Bête, a more whimsical (and considerably more hairy) version, great for anything that requires an elegant-but-beastly feel. Bex is surprisingly versatile! With three optional capital forms (Swash, Caps, and Small Caps) all taller than the x-height, Bex has a variety of voices. A full small cap set and a full set of Swash Caps, plus a large complement of alternates, initial forms, terminal forms, and ligatures makes it customizable and… well, FANCY! Additionally, both versions of Bex Script have a set of ten ornament glyphs. La Belle has a combination of fleurons on a culinary theme and symbols of France. La Bête has ten pseudoheraldic beasts that would feel at home at the top center of any whimsical letterhead. NOTE: A few years ago in Paris, I was lucky enough to stop at the Librairie Paul Jammes in St Germain-des-Prés, where I bought a turn-of-the-19th-century signature from a Type Specimen of the printer Joseph Gaspard Gillé. The irregularity of his script types — particularly the ones at smaller sizes, like the Cicéro — was very intriguing. They seemed to blend the Ronde with some elements of the Bâtarde and Coulée. And they, along with the work of French master penman Louis Rossignol, gave Bex Script its initial form.

The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

The life of Molière is a story of struggle, hard work, domestic unhappiness, death and burial in obscurity and almost in shame. Molière left behind a body of work that not only changed the face of French classical comedy, but has also come to influence the work of other dramatists from around the world. Despite his own preference for tragedy, which he had tried to further with the Illustre Théâtre, Molière became famous for his farces, which were generally in one act and performed after the tragedy. Both the comic and the serious drama were powerfully affected by the work of Molière, not only in his own age and country but everywhere and up to the present time. Didot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784–1811. Firmin Didot cut the letters, and cast them as type in Paris. Along with Giambattista Bodoni of Italy, Firmin Didot is credited with establishing the use of the "Modern" classification of typefaces. The types that Didot used are characterized by extreme contrast in thick strokes and thin strokes, by the use of hairline serifs and by the vertical stress of the letters. As in the extreme contrasts of the literature of Molière, in Didione's typefaces, thick and thin strokes, straight and curved, are the most relevant characteristic for an era marked by the changes.

The “Daily Routines” Handwritten Display Font is a delightful and charismatic typeface that effortlessly captures the essence of casual elegance. With its carefully crafted strokes and artful imperfections, this font exudes a sense of handmade authenticity that is both inviting and versatile. Designed with meticulous attention to detail, “Daily Routines” showcases a harmonious blend of playful curves and well-balanced letterforms, making it a perfect choice for projects that seek to strike a harmonious balance between approachability and sophistication. Its smooth and flowing lines lend a sense of fluidity and ease, evoking a feeling of effortlessness and natural rhythm. The irregularities in each letter lend a unique charm, reminiscent of handwritten notes penned with care. The “Daily Routines” Handwritten Display Font is specifically tailored for projects that demand a warm and friendly touch, such as invitations, greeting cards, product packaging, and branding materials. It easily conveys a sense of personal connection, making it ideal for conveying heartfelt messages or highlighting the human element in design. Whether utilized for digital or print media, this font ensures legibility and readability, even in smaller sizes. Its captivating appearance adds a touch of personality to any text, making it stand out while retaining a sense of tasteful subtlety. Embrace the captivating allure of the “Daily Routines” Handwritten Display Font to infuse your designs with a genuine and endearing character, elevating them to new levels of aesthetic appeal and resonating with your audience on a profound level. If you have any questions please don’t hesitate to contact me follow my Instagram: fkryall Thank you

The Okojo Pro Complete family is a reworking of Wordshape’s immensely popular Okojo family of typefaces. It includes Okojo Pro, a semi-geometric sans serif, Okojo Slab Pro, a semi-geometric slab serif, Okojo Pro Display, a round-cornered sans serif variation, and Okojo Slab Pro Display, a round-cornered slab serif. The entire Okojo Pro family looks great at small or large sizes. The Okojo Pro family is designed for readability in long texts while simultaneously functioning as effective display type. Features of Okojo Pro Display: - all lowercase characters have an enlarged x-height, creating less optical dazzle than typefaces like Futura, Neutra or Avant Garde - more humanist numerals and punctuation for enhanced readability - complete Western, Central and Eastern European characters sets - radically improved spacing guaranteeing beautiful results in print and on screen for the Czech, English, Hungarian, Croatian, Esperanto, Maltese, Romanian, Turkish, Albanian, French, Portuguese, Spanish, Basque, Bulgarian, Finnish, Swedish, Norwegian languages The Okojo Pro Display family is influenced by the type designs of Paul Renner and Herb Lubalin, but smoothed over with more than a bit of Americana. Both work well on-screen as webfonts and in print as book type. Each is hinted with accuracy and kerned with precision.The lighter weights are slightly slimmer than the regular and bold weights to give the typeface more of a vertical feel, inviting readers' to rapidly read typeset text with a maximum of contrast and a minimum of optical distortion. Okojo: it’s a little bit country and a little bit rock’n’roll.

This family was inspired by a Type Battle over at Typophile: How would you design a font metrically compatible with Helvetica, but better than Arial? Working with preset letter widths was an interesting constraint, both a relief and a limitation at the same time. I have done all the 4 basic weights, and the skewed obliques (done to a slightly less steep 10 degrees angle as opposed to the originals 12) has been optically adjusted. The letters have been designed quite close to the german/swiss grotesk tradition, but by using super-elliptical rounds, rounded dots and slightly curved outer diagonals the end result is a friendly looking font family that still looks... familiar. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Discover the charm of Cultured, a captivating handwritten font that adds a touch of elegance to your designs. With its natural feel and resemblance to authentic handwriting, Cultured brings a personal and intimate touch to your projects. Whether you're designing wedding invitations, stationary art, or eye-catching social media posts, this font will elevate your creations and leave a lasting impression. Cultured features a comprehensive set of both uppercase and lowercase letters, offering versatility and creative freedom in your typographic endeavors. It also includes numbers and punctuation, ensuring seamless integration into your designs for a polished and cohesive look. With multilingual support, this font enables you to effectively communicate your message across different languages and engage with a diverse audience. One of the highlights of Cultured is its collection of ligatures, which enhance the natural flow and connectivity of the font. These ligatures provide a seamless transition between letters, creating a visually pleasing and handcrafted appearance. Each stroke showcases the attention to detail and cares put into crafting this font, making it a standout choice for projects that require a touch of sophistication. With PUA encoding, accessing the amazing glyphs and ligatures of Cultured is effortless. This feature allows you to unlock the full potential of the font, giving you the freedom to explore unique combinations and tailor your designs to perfection. Experience the elegance and artistry of Cultured and elevate your designs with their handwritten allure. Add a personal and refined touch to your projects and captivate your audience with this exquisite font.

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.