Aceituna means ‘olive’ in Spanish. It comes from the Arabic Al-Zeitoun. I am multi-tasking today: finishing this font and thinking about what to cook for my family tonight (yes, I am the one who cooks!). We normally eat Asian food, but I was toying with the idea of serving something Mediterranean and realised we had run out of olives. So there you have it: the super simple trick of naming a new font! But enough of cooking: Aceituna font was made with a Japanese brush pen. It is a very versatile font: tall and thin, elegant and a little messy. A hint of texture and, like olives, it goes with almost anything.

Core Rhino is a contemporary typefamily designed by S-Core. The fonts have the mood of brushed feeling and come across as soft and gentle. Core Rhino displays warmth through its roundness and curved letterforms. Also it is legible in prints and on screens. The Core Rhino family consists of 7weights (Thin, Extra Light, Light, Regular, Bold, Heavy, Black) plus matching italics. The OpenType fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions. If you are looking for a sans serif style font which is practical and friendly, get this family and save your time.

Galigo is a captivating hand-drawn font that seamlessly blends artistic flair with versatile functionality. This unique typeface showcases a delightful variety with both light and regular forms, allowing you to effortlessly convey different moods and styles in your projects. Whether you're designing invitations, posters, branding materials, or any other creative endeavor, Galigo provides the versatility to express your ideas with finesse. Features: Regular & Light Uppercase & Lowercase Basic Latin Glyphs Multilingual Support Numeral and Punctuation Ligatures & Alternates Thankyou for picking up this font, hope you enjoy it. Regard. Grontype

Finding the right fonts for your projects is a challenge because improper fonts will deliver improper messages resulting in unprofessional appearances. Therefore, Trafit is here as your problem solver. This is Trafit, a perfect font to show luxury, class, and eternity. Trafit is an outstandingly designed stylish serif font. Its soft, clean lines and indentations show elegant impressions for your prominent designs. Its letter edges have hooks like the other serif fonts. The simple shapes and even sizes help to make it legible. Due to the great legibility, this font is applicable for any text sizes and length. In addition, you can enjoy the features available here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Trafit fits best for various design projects, such as brandings, posters, banners, greeting cards, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Varese Gradient is a color font for display, headlines, or large body text. Use it for bold graphic statements or a vintage mood. Its geometric style is inspired by Art Deco and early 1900s European travel posters. This typeface will set a friendly and light tone while giving messages a unique and memorable feeling. The gradients transition vertically and come in these sets; color with white, color with black, two colors, chromatic grays, grayscales, and concepts like summer or cappuccino. The font name will indicate its color. The full family includes one regular font. Here is a list of all the fonts in color. The lowercase letterforms are similar to the uppercase, but the lowercase have counterforms. It comes with OpenType features such as alternate glyphs, half-height letters, standard ligatures, and stylistic sets. The fonts are OpenType SVG format and fully scalable. Contact Tarallo Design if you need custom colors. Varese Gradient has siblings, Varese Soft (rounded) and Varese Outlined (color/shadow/outline).

Cord (Zsinór in Hungarian) was originally a commissioned work for a tablecloth pattern with a thread like frame decoration that is actually consist of letters. The lettershapes were being created based on Rovas characters, which were reinterpreted without decreasing legibility. Therefore, the Rovas alphabet was designed in the first place followed by its matching Latin company. The full character set contains: Western, Central and South Eastern European Latin characters basic symbols and punctuation Rovas alphabet Rovas number symbols and punctuation Display font, best fit in larger sizes for souvenirs, folk art theme, embroidery, ribbon like decorative texts and signages. Good luck and Happy Creating! Roland

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Introducing of our new font Vallocka, digitised from hand painted characters with brush markers. This font is good for logo design, social media, movie titles, book titles, short text (and even long) text, letters, and a good choice when combined with other script, sans, or serif fonts as secondary text font. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that fully support OpenType features and have a Glyphs panel such as Adobe applications or Corel Draw for you Ito make use of all the variations of the glyphs. Hope you enjoy our fonts!

Hello, introducing the new font Thursday Routine. Thursday Routine is a Bold Friendly font. The font is available on Italic too. Good reading, Readability 100%. Perfect for your graphic. What's Included ? Uppercase Lowercase Symbols Numerals Multilingual Support

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Guillermo was born in Argentina. And after crossing four continents and travelling in more than twenty countries, he still has his accent. His luck ran out on the streets of Barcelona. But despite his circumstances, he hasn’t lost a bit of his wit or articulacy. “The worst thing about the street is something that touches your heart, your brain. Not being able to have sex, not having any privacy until it leaves you empty.” On the street he follows his passion for art and writing as best he can, using old cardboard when he can’t find paper and listening to the music that comes to him. His way of thinking and expressing himself leaves people wide-eyed and open-mouthed, but even so he admits he’s a solitary man. “Solitude is an individual word. A solitary type like me can’t bring the word solitude to the whole world.”

Tinteretto is a very beautiful, decorative Art-d�co font which is ideal for ad design about fine arts events and the world of arts and crafts as well as in restaurants, bars and for food packaging. Tintoretto harmonizes well with serif and sans serif fonts created at the beginning of the last century. It contains character sets for West and Central European as well as for Romania and Turkey. When Unger started his work on Tintoretto, he had the splendid idea of adding a Fill version to the original 3D characters. Combining both fonts make it even stronger and more beautiful. How to combine both fonts in order to achieve a color fill effect: Type your word or phrase and do not make any changes to the spacing or kerning. Duplicate or copy the original and change it to the Fill version (font change). Apply a color to the copy and position it exactly behind the original. See and love the result.

Matura font was designed by the Hungarian wood engraver and type designer Imre Reiner in 1938 and released by the Monotype Corporation. Matura font is a bold upright script that looks as if it were written with a broad-edged pen. A set of vibrant near-flourished capitals, called scriptorial capitals, broadens the usual range of script faces. Matura's distinctive lines make it appropriate for advertising uses as well as text headings, and for informal work like cards, invitations, and announcements.

The letters in this font are made by chopping bits from footprints. Individual letters are sometimes very hard to decipher, but when put together as words they are usually readable. In Pedestrisan-Regular, the original version of this font, the upper-case letters have toes on the top the lower case letters have toes on the bottom. All the feet with letters are right feet. The upper case and lower case do not mix. In 2020 two alternate versions were created. In Pedestrian-Alt all toes are on the top but the lower-case letters are left feet. In Pedestrian-AltTwo all toes are on the bottom with the upper-case letters being cut from left feet and the lower case from right feet. Both the alternate styles also have an alternate set of numbers on the unicode circled numbers that can also be accessed with an OpenType feature.

Public Notice JNL is based on a wood type alphabet originally shown in George Nesbitt’s 1838 catalog as “Gothic.” The image sample used for a model had only the basic A-Z characters, an ampersand and an exclamation point, so numbers and additional characters were designed and added to the digital version.

The Inabitavel Typewriter is a unique typewriter font design, great for mimicking the effect of typewriting older machines. Has an erased and much-inked style, good for exquisite designs.

Strak is a font that was born out of admiration for the work of E. Vermeulen, a Belgian artist known for his tight, precise line and an unseen masterpiece that is spread around the world. He has published and exhibited his work in London, Liverpool, Angoulême, New York, Geneva, Amsterdam, Lyon and Turku (in Finland) and he even signed for the New York Times. Based on a few characters, a complete font was composed by Kustomtype. After a few sketches, Strak came to life. The name Strak, in this case, refers to the slender, beautiful woman with the correct waistlines and proportions. The font is designed this way; it is completely hand-drawn, digitized and can be used in all modern and graphic media. Strak is available in 8 different styles, has class and will make many people's mouth water when they see it on your designs. Do you want quality and style? Then Strak is the font-perfect solution!

Casual Face is a display variable font with a natural handwritten feeling. The font supports Latin and Cyrillic uppercase characters, numerals, and the main set of punctuation and symbols. The character of the font is based on the classic sign-painter casual script. The font’s option variability is upright and slanted letters up to 17 degrees. This enables the designer to define the gradient himself and be free to create designs suitable for advertising, packaging, and events. The font is perfect for headlines and personal products with casual characters and the mood conveyed is warm, and relaxed.

A bold, rounded font. I'm afraid it only contains the most common characters because of its thickness. Anyway, it's good for most uses.

Tuna is simply a contemporary body text font. It is contemporary, meaning the merge of charming broad-nibbed calligraphic style with optimized readability on screen – showing that the roots of writing and typesetting are still in charge when reading “Anna Karenina” on your Kindle till 4 o’clock in the morning. Tuna has a natural fit for cross-media use because the design is based on forms characterized by different conditions of constancy, stability and good readability. Well-defined shapes and distinctive details only become apparent when used in larger sizes, making Tuna a true all-rounder. With more than 700 glyphs in 10 styles created with a maximum of consideration, it has all the qualities of a modern OpenType font serving the needs of today's communication. If you would like to read more about the Typeface please visit our promo site.

Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broek also worked for HAL with large surfaces and fixed lines in which primary colors dominate, accentuated with shadows acquired by spraying technique. He also made graphic works for, among others, the World Exhibition in New York, the Dutch railway company ‘Werkspoor’ and the royal Dutch steel factory ‘Hoogovens’. His drawings and lettering gave me a love for the trade and naturally gave me a completely different view on fonts. That’s how I slowly but surely made my way to the trade. Based on the letters I had at my disposal from the Holland – America Line poster, I started to complete the alphabet in the same style as the original text. I digitized everything in order to acquire a usable and modern font. The Holland America Line Font comes with uppercase and lowercase with all the needs of modern times to create a good digital font and to be able to use it for all graphic purposes. The font is ideal for headtext, posters, logos, etc... Don't hesitate and use this unique historical font! It will give your work that glamour that you will find in few fonts. Enjoy the Holland America Line. The Holland America Line Font comes with uppercase, lowercase, numerals, punctuations so you can use the Holland America Line font to customize all your designs. The Holland America Line font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. The Holland America Line Font can be used for all graphic purposes. It is ideal for headtext, posters, logos,  logos, letterhead, apparel design, package design, label design etc... Don't hesitate any longer and enjoy this unique historical font! It will give your work the glamour that you will only find in a few fonts. Enjoy your journey with the Holland America Line!

Proudly present Sealatte signature. An Elegant charming handwritten font to improve your typography design looks modern and stunning.This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with the script, sans, or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Introducing Psychofun Typeface Psychofun Typeface is designed with a retro style concept that has a unique and cool shape. It is suitable for header text fonts, book covers and designs that have a retro and groovy concept, besides that Psychofun Typeface is also very good when used for body text. Psychofun Typeface has 5 families from Regular to Heavy. Display Serif typefaces such as “Psychofun Typeface” are very easy to apply to any design, especially those with an retro, groovy and classic concept, 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 Psychofun Typeface contains 530 glyphs with many unique and interesting alternative options. Plus, there's a cool display serif font family for header and description text from regular to heavy. In the poster preview all the letters are in the Psychofun Typeface.

Here in the heart of Santa Monica, in the disused 1940s aircraft hangar we like to call the Comicraft Studios, we know that times are tough. As we were driving to “work” in the back of our chauffeur driven Humvee limo, sipping martinis out of the navels of Playboy bunnies and wondering what font we should release next, we decided it was time to reach out to the poor people. Yes, we felt it was time to create a font for the huddled masses yearning to breathe free, for the wretched refuse of our teeming shores. A font, if you will, for the tempest-tossed. It’s a little skinny and might be described as pinched and starved, but it’s guaranteed to see you through this current economic crisis as only the 26 letters of the alphabet can. It was a tall order, but Jazzy JG Roshell created this one while he was in line at the bank, waiting for his personal bailout. Meticulously crafted using one of those ballpoint pens attached to the cashier’s station by elastic, Credit Crunch is the Hamburger Helper of comic book fonts. It’s kind of a hybrid -- just like the Priuses our trophy wives drive to their personal plastic surgeons -- and it’s solar powered and also comes with a tank full of good old fashioned Biro ink. The Recession, Climate Change AND Global Hunger will probably end mere minutes after you crack open your life’s savings to buy this font. How can you afford NOT to...? See the families related to Credit Crunch: Credit Extension.

This typeface was drawn to create short headlines (quickly) for one of my projects (a set of illustrations featuring The Evil Rat, imagined character). Each character (here I mean "glyph") has it's own personality, mostly evil one (jokingly) — that is why the font is called "The Monsters". The font was drawn on paper, then scanned and traced. It has both Latin and Cyrillic sets, since it was used with both. Monsters are good for short notes of comic or ironic style.

Joopica is cute & fun, bringing a friendly good nature to your communication. For the casual fresh look this font has lots of appeal. Joopica features extended characters, containing West European diacritics & ligatures, making it suitable for international environments & publications.

Here is it, Tasty Matcha Fonts. Based on my favorite drink become a fonts called Tasty Matcha. The fonts looks good, stunning, great, ease reading. What's Included Inside The Fonts ? Uppercase Lowercase Symbols Numerals European Multilingual Thank You, Regards!

Blacketor came about from hand lettering I had done for my own personal use several years ago. It remained unfinished until now. I was going for a more traditional serif font but in the process of play various versions came about while playing with the serifs, in an attempt to be slightly different. Many versions fell to the wayside as I learned more about what didn’t work than what did. What came about was a clean font with large open counters and short ascenders for an easy read. All caps works well for a bold but not shouty statement. A good font for Headlines and callouts as well as logotypes.

Laire sans that we created at the end of 2021, we made visual communication more Friendly, bold with a geometric touch in our sans category called Laire, has a good level of legibility when applied as body text because we really consider the optical in each letter. Laire Sans has 40 Styles of Normal, Condensed, Oblique fonts with Weight from thin to extra Black, has a total of 693 glyps, Cyrillic is also available to meet the needs of several languages. Designed with Opentype features to help make using fonts easier We also include variable fonts to make it easier for users to set their own according to their desired needs

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Want to have a more unique design? Raina is a new way to show uniqueness and freedom in your design. Raina is one of the sans serif font combinations with the display font. Unlike the other solid, firm displays of sans serif font, Raina expresses more artistic, unique displays as a result of the display font’s character combinations. Its differing letter shapes from ordinary alphabets create uniqueness for this font because each letter has no straight lines, but indentations or cavities instead, and no tiny lines or hooks as a sans serif font character. With the unique shape of this font, use this font on bigger screens for a legibility reason. This font has included outstanding features to take your creativity and ideas to the next level. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Raina fits for various design projects, such as posters, banners, logos, book covers, quotes. , headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Feel free to contact us if you require more information when you are experiencing a problem. Thank you. Happy designing.

The Parisii was a small Gallic people settled in the current Paris region, which gave its name to the city of Paris. According to Caesar (53 BC.), their main town (oppidum) was Lutetia (Paris). Parisii was born of inspiration to be leafing through some old magazines on the terrace of a cafe in the beautiful city that is Paris. Parisi is like the city: casual, youth, romantic, free spirited and, at the same time, sophisticated, elegant and classic. The Parisi family font is a lovely and casual handlettering script, which is based on gestual calligraphy. Parisi has a slight bounce and intentional irregularity giving your words a wonderful flow. Fat and thin stroke in this font impresses the harmony. Parisi consists of 3 subfamilies: Regular, Italic and Condensed. This font includes Parisi font has OpenType features such as Stylistics and Contextual alternates, swashes, Standard and Discretional Ligatures, stylistic sets and ornaments that allow you to mix and match pairs of letters to fit your design. This will help your creativity and make it easier to make the impressive and elegant typographic work. This OpenType features may only be accessible via OpenType-aware applications, a Central European language support. Parisi looks lovely on wedding invitations, greeting cards, logos, business-cards and is perfect for using in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and more!

A set of vintage wood type printing blocks yielded the alphabet which was to become Chamfer Serif JNL. With its heavy vertical serifs and interesting character shapes, the design is unique when compared to the more familiar wood type offerings of the past.

Delirian Script & Ornaments Delirian is elegant script with contemporary mood and perfect forms, inspired by immortal classic calligraphy. Not too thin and not too thick, good balanced and variable, born for luxury and beauty. In my examples I show how this script can be used. It's great for logotypes, branding, wedding invitations, romantic cards, alcohol labels, packaging, spelling of names and others. Delirian Script comes with beautiful Uppercase and Lowercase letters, numbers and punctuation. In addition to the main character set, there are 158 alternates characters, 36 ligatures and 10 lengths of end-swashes. You also get Ornament set of 26 elements which harmoniously complements original script. Multilingual Support Script support Western European characters and works with following languages: English, Croatian, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish. OpenType Stylistic Alternates works on the principle of simple combinations with activated Standard Ligatures option in OpenType panel (Adobe Photoshop, Adobe Illustrator). To get alternate just add for example number 2 (two) after any letter. Every Uppercase has 1-2 variations and Lowercase about 3-4 alternate characters. For example: A2 A3 - Uppercase; a2 a3 a4 - Lowercase; a.1 a.2 - Lowercase with underline. _1 _2 _3 - End-swashes Ligatures works with activated Discretionary Ligatures option in OpenType panel. This special features don't work in Microsoft Word.

Condell Bio is part of the bigger Condell family: a project that involves series of typographies and whose early conception and development began in 2006. Unlike its Poster version , with its excessive and eccentric forms, Condell Bio tries to adapt itself to a monolinear shape, but conserving at the same time the organic character of its forms and endings. In this way Condell Bio is able to expanse its typographical use fields to a vaster scale. Condell’s endings and organic strokes haven’t been conceived in a structural way but stylistically. This means that Condell’s high readability doesn’t change and its original personality and idiosyncrasy as well. Condell can be said the ideal typography for connoting the corporation and brand identity, because of its high readability; especially its “eatable” forms, who collects images of food, are easily adaptable to food industry. Condell is highly recommended for the following products groups: cleansers, dish soaps, toothpastes, all sorts of personal hygiene products (shampoos, soaps,..), industrial cleanser products and also for products which refer to its softness, volatility and smoothness. Condell’s soft forms and nice endings, inspired through spontaneous brush strokes, give to the typography a very peculiar pleasant connotation. Its Italic (10 degrees inclination) has been produced singularly and not automatically calculated by the software. Condell Bio is composed of 16 fonts: from thin to black, whose weights are in regular and italic. Each singular weight has 600 characters and is composed of 206 languages.

Staple is a Display Font. Each letter and number is made up of a clever arrangement of staples. Together, they retain the simplicity and beauty of a perfectly folded stapler pin. This creates a font that provides very good readability, solid shape and simple elegance that makes it perfect for use as a display font. To add elegance to the font, the letters and numerals are designed to retain the pin identity across all characters. Care has been taken so that the pins do not overlap. Nor are the pins bent or twisted into unnatural shapes to create the characters.

A typeface for telling stories. After seven years through which Rodrigo Saiani worked on Dupincel, Plau’s team still had months of dedication until found a good way of summing up this typeface. All this effort was rewarded, though, when we came up with a motif that gave Dupincel the grandiosity it deserves. Telling stories is this typeface’s gift because it has the emotion for it, resources for it and the breadth for it. Like all that wasn’t enough, it has the scale for it: optical sizes Small, Medium and Large make Dupincel optimized for stories of every length. From short stories displayed big or long stories on small letters. We don’t want to dictate the types of stories either, anything goes. But if ornaments make a good fit with that story, we will be even more thrilled. In the end, Dupincel makes us want to find new stories to tell.

The font was developed because of my pure interest in handwritten type. Handwritten type is more personal and works wonders to connect with people. Travel Diary is a handwritten display typeface with its bold graphic presence making it ideal for usage in informal postcards, invitations, travel and lifestyle magazines, wedding and informal event graphic work, display signages, packaging for various kinds of food, menus and leaflets for coffee shops and restaurants etc.