Once upon a midnight dreary, this Comicraftsman pondered, weak and weary, For a name synonymous with Mighty and Marvelous comics lore. Solid, Outline, Inline was the nameless font I'd crafted, I nodded, nearly napping o'er the work I'd grafted When suddenly came a tapping, As of someone gently rapping, rapping at my cubicle door. "'Tis some visitor," I muttered, "tapping at my cubicle door-- Calling out "EXCELSIOR!" Then an Amazing Vision beguiled my sad fancy into smilin', By the Spectacular decorum of the countenance it wore, "Though thy crest be shorn and shaven," he said, "thou art sure no craven, And thy font should not remain nameless here forevermore!" Eagerly I wished the morrow; vainly I had sought to borrow From comic books surcease of sorrow, letters that called out "EXCELSIOR!" Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking of the nominative neuter singular thing Like Some Silvered Surfer wandering from the Nightly shore-- The Vision shrieked, upstarting--"Tell me what thy lordly name is thus!" Quoth the Craftsman: "EXCELSIUS!"

A ìthick and thinî Art Deco sans lettering design was found within the pages of the May, 1936 issue of Modern Screen magazine. This condensed typeface has rounded terminals, similar to that made by a round nib lettering pen. This is now available as Deco Film Ad JNL in both regular and oblique versions.

The boss of extended typefaces, Brian Bonislawsky, has belted out this ultra wide design, EuroMachina, that looks like an odd meld of OCR-A, Microgramma and Bank Gothic. And if that wasn't enough, Brian then felt the need to distort it in various ways, creating Broken, Eroded and OverGreased. A little something for everyone.

Caribe is an expressive typefamily like the blue sky and bright Caribbean sun, designed by CFCG @andinistas. We love to design experimental fonts with a large amount of ligatures and swashes, drawn with special respect and study for what is handmade by ancient artisans. In this context, Caribe is an impressive typefamily of 5 fonts to create logos, posters, book covers, menus, labels, packaging, etc. The 5 Caribbean fonts add up to more than 1500 glyphs that serve to be mixed or independent, functioning as a springboard to encourage your creativity in the design of words, phrases or remarkable headlines of the elements that appear around them. Caribe Script has lowercase letters such as "b d f g h i j k l p q y z" with extremely short ascending and descending strokes achieving generous height x in: "a c e m n o r s u v w x". Caribe Script Produces visual attraction in words and phrases that need lowercase letters with sparing horizontal space width and bold stroke thickness, producing exceptional legibility in headlines or advertising texts. Caribe Script & Caps are based on ancient and multiple letterings from the 40s and 50s that were useful inspiration tools to produce visual pleasure. Caribe Words has more than 60 script words drawn diagonally generating greater intensity within a sentence. Caribe Shields & Digits has more than 50 designs each and they have containers and numbers designed to accompany words, phrases or drawings that serve to harmonize different writings. ENJOY more than 1500 glyphs: + Caribe Script: 743 glyphs + Caribe Caps: 507 glyphs + Caribe Words: 71 glyphs + Caribe Shields: 230 glyphs + Caribe Digits: 40 glyphs

Bomanda Signature is a handwritten signature font. This font has 2 stylistic forms, namely regular and italic. Also added is a bonus 1 font, a floral element font that can be used for: logos, writing ornaments, making frames, and much more. You can create the perfect signature or logo with this font. What's Included? - Bomanda Signature Regular OTF - Bomanda Signature Italic OTF - Bomanda Floral Elements OTF - More than 598 of glyphs - Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, CorelDraw, even work on Microsoft Word. Multilingual Support Thanks and have a wonderful day.

HS Alhuda is a display typeface. It can be used for titles and graphic projects, which support Arabic, Persian Urdu and Kurdish. It has been created based on modern kufi style. It enjoys flexibility between sharp and curved lines in the structure of characters. This supports with a beautiful appearance and wonderful geometric structure. The sharp endings in the bottom of character also give an aesthetic addition to the character. (8) Weights has been created for this typeface between the heariline weight and heavy weight. Besides, those six additional weights which can be used in headline, has baseline parts are more thicker than the vertical parts. One has a regular form and the others has a stencil form in the middle using various styles. This typeface with its diversity of (14) weights is intended to be an attempt for a good addition to Arabic typography.

StudioSans — is a modern representative of the class of sans-serif fonts inspired by the traditional Swiss design and typography of the mid 20th century. This is a minimal, clean and open font family with friendly forms. Focuses on functionality, has a high x-height and short ascender and descender elements. This is combined with soft circles and high legibility of characters contributing to comfortable reading. The family contains six weights from ExtraLight to ExtraBold. Each of them has in its arsenal more than 450 glyphs and knows more than 50 languages. Support for OpenType Features focused on the Oldstyle Figures (including signs of currencies and interest), Case-Sensitive Forms, Standarts and Discretionary Ligatures, Slashed Zero and Etc.

"Fashion Experiment" is an all-caps handwritten display font featuring a funky and expressive gel pen-style that is perfect for creating impactful header text, poster designs, album covers, product designs, and merchandise. The font's unique and playful appearance is crafted to maintain an authentic look, with alternative letters and ligatures adding to its creative potential. The font includes alternative letters and ligatures coded for uppercase letters. The font also features more than 100k kerning pairs, ensuring optimal precision and readability. To maintain the authentic appearance of ligatures, this font was crafted from the handwritten text. However, as ligatures that complement one combination of letters may not work for another, it is essential to have the option of switching to alternate letters or avoiding the use of ligatures altogether. The frequency of use for certain letters varies, resulting in some letters having more alternates than others. For example, letters such as A, E, L, M, S, and T are more commonly used than letters like X, Z, and Q, which explains the difference in alternate options. We recommend using programs that support OpenType features to fully access the font's features. This will allow you to access glyphs directly on the same panel without copying/pasting each glyph. Additionally, the OpenType panel allows you to turn on standard ligatures, which can automatically change letters for available ligatures. Even if you are using a program that does not support OpenType, you can still access the alternates and ligatures of this font through Fontbook or Character Map, as the glyphs are PUA-encoded. However, please note that you will have to copy and paste each ligature or alternate individually, which can be time-consuming and require extra effort. Happy designing, Gulya

Aleesya Rose is a Stylish Font Family to bring a touch of elegance to any design. The clear contrast blends into all styles - even thin styles - and the strong individuality by weight delights the designer's imagination. 14 styles including 7 weights and italics are essential for designers to complete more detailed and sophisticated typography. This style has 426 glyphs each, check the glyph window in your app. The upright standing of the vertical stems stably supports the center of gravity of the entire font. And the thin strokes used as finishing touches will convey an elegant personality to the layout. The ligatures are designed to appeal to the reader with their beautiful tenderness, and they are: Ba, Be, Ha, He, LO, Le, Lo, Re, Ro, ck, de, do, ee, ff, fi, oo, rr, th. In particular, we recommend that you choose this font family to achieve the following purposes: Editorial design, Personal branding, Branding business, logo design, portfolio, and any special design.

Blacky is a powerful and elegant display typeface. Inspired by design styles that are currently trending, and this is the answer to the design ideas that you will apply in this modern era, with a thick and strong style in each letter of the Blacky font as it is specialized in the world of design. Blacky has 3 font styles including: -Regular -Semi Rounded -Rounded Blacky works great on posters, social media, headlines, titles, large print - and it works on just about anything because it's a San-Serif font.

Hi! Introducing a vintage style font Shining Night. This font has additional font file with round dots over the base glyphs, that immitates a lamp lights of a real cabaret signboard.

This is a 2023 redesign of Bronzo, originally designed by Rick Valicenti and Mouli Marur in 1991. With this redesign, Bronzo now has 6 new weights, for a total of 9, and 587 more glyphs than it was able to in 1991. Bronzo appears to move forward, yet remain still, via a center stroke that only sticks out on the left, a tense curve that only happens on the right, and a width that sits uncomfortably between square and rectangle. Those three things, combined with a balanced light to dark ratio, are what makes Bronzo appear tense and ready. Bronzo accepts Modernist ideals of minimal, rational construction—but it also adopts luxuriant shapes over Modernism’s sandblasted neutrality. It’s almost an alternate reality, a “what if?” of Modernism. Modernism’s fun, interesting, cute reboot.

Good Karma (its namesake) will be extended to you as you use this new relaxed script family. Produced from hand and sumi brush of Neil Summerour, Good Karma is a natural brush textured font family. Good Karma is filled with a lot of heart, reliable and genuine movements, and a wide range of letter options to befit any project needing an honest hand-lettered look. Each typeface comes with an additional set of stylistic alternates (upper AND lowercase) that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. To further expand the usefulnesss of this peaceful script, a separate Caps/Small Caps font has been added that provides the simple contrast needed to bring the script fonts forward. Rather than limit the personality of this script, various styles have been produced to complement the original Regular—Upright, Wide, Wide Upright, and the aforementioned Caps fonts are included in hopes of helping you find the perfect variation needed for your composition. Good Karma is the first release of the Positype Relaxed Script Collection of typefaces—all focused on fluid, effortless script fonts for simple use.

Space Mode is a multi-weighted typeface, sent back in time from the distant future. Forward-looking typeface designers often predict a reductive future where Latin letterforms have become increasingly modularized and simplified, or random bits have mysteriously gone missing. Thankfully, this is not the case, and typography has instead flourished and evolved. New forms have appeared, and some revived from historical references. A more complex drawing model has arisen that seems to add new curves in a effort to tame the strange diagonals that appear in the final quarter of the alphabet.

The name of the font is chosen to suggest its main purpose—setting multiple pages of text. All the features in this family were made with that in mind—legibility, distinct italics, small caps and various OpenType features, all make this font a useful tool for typographers. On the other hand, for packaging, posters, logotypes, etc. setting heavier weights in large size brings out its display qualities. Pagewalker is very legible and appears to be larger than other text typefaces. That is because the lower-case characters are made large compared to the capital letters. This means it can be used for setting text in, e.g. 9 pt size—while appearing to be 10 pt, but occupying less space. Pagewalker has a character set to support Western and Central European languages, and an extended set for monetary symbols which, in combination with tabular numbers, is perfect for financial reports. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

Based on the classic Sol design by Marty Goldstein and C.B. Smith, published by VGC in 1973, Sol Pro goes above and beyond the call of revival/retooling to include plenty of optical improvements to the original design, more weights, italics, small caps, biform shapes, alternates, and extended language support. This particular design is one of the more prominent forefathers and strong influencers of the soft, streamlined aesthetic that has been going strong in branding and geometric design for more than 40 years now. It cuts all links to melancholy and classic empire shapes, and introduces smooth contrast modulation that communicates sleek, adaptable youth, confidence, knowledge, and modern hi-tech presence. This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness. Sol Pro's extended character set and range of weights and widths makes it quite suitable for applications of all sizes, from small collateral to product branding and massive marketing campaigns. The Sol Pro complete family comes in 20 fonts, each containing over 520 characters. Available in single fonts or value-maximizing packages.

Although English characters do appear on screen, in Star Wars canon this "language" is known as High Galactic. The main written language in Star Wars is called Aurebesh. This font is designed for an interface or signage with a pseudo dot-matrix style. Aurebesh has more than 26 letters, the additional characters are available as glyphs in the set. Numbers and symbols in the Aurebesh fashion are also included.

Zafrada features classic wedge serifs that can be sharp like a machete or round like molasses. Inspired in the sugar cane, this typeface brings great display legibility with versatile expressions. While the edgy version reminds us of classical rustic grotesk typefaces, the round version brightness the tone considerably. Be it display, branding, campaigns or content creation, this font has a sure space in many projects for it's reliable and versatile nature.

This typeface is a monoline geometric script, meaning it has some qualities of scripts but is based on geometric shapes like ovals, circles, rectangles, etc. It is decorative and versatile and works well for projects that need to look both elegant or a little whimsical. There are 26 ligatures and 28 alternate glyphs that allow some of the letterforms to curl to the left or the right. Addie has been designed for use as a display typeface.

Oakleaf Font This pair was inspired by the retro poster design that i saw on some coffee shop, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. Opentype features Oakleaf font has 156 character set included Cricket Font is very good looking in logo, labels, t-shirt prints, product packaging, invitations, advertising and others. What includes Multilingual support (Western European characters). Thank you for using this font. LS

Proudly present "Simply Harmony -Vintage Monoline Font" Simply Harmony comes with 2 styles that have their own characteristics. Simply Harmony Regular : has a clean and elegant style. This font has a more modern feel, so you can apply it to modern-themed projects. Simply Harmony stamp: this font has a rough style both in the middle and the edges of each letter, this font has a vintage feel and can be applied to various needs. This font has 114 awesome alternates and has 311 total glyphs, there are various kinds of alternates that you can use as you wish. I really hope you enjoy it – please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thank you

HEY YOU GUYS! Goondocks PB is a faithful recreation of the titling font from 1985 film, "The Goonies". This was a lot of fun to recreate and flesh out, and it has that purposefully awkward appeal that a lot of Pink Broccoli fonts are imbued with. With a pseudo unicase styling, wonky blockish style lettering, and that visceral tieback to the 80's, Goondocks brings back fond memories, perfect for those unorthodox creative designs.

Handpainted font with attitude! An attitude which will help you when designing posters, packaging, headline, invitations and alike, that needs that authentic brush-look! I haven't got the count of how many pieces of paper I used to make this font. It was a lot! Comes with “contextual alternates” which means that the font has 6 different version of each letter. These different versions cycle as you type, and makes the font look more realistic!

Stencil fonts often evoke rigid and sterile images such as packing crates or military vehicles, but Super Duty is somewhere between serious and fun. Super Duty is designed with sharp mechanical angles which give the letterforms a square-jawed and ready-for-action feel. A rounder companion version is included that has the sharp edges smoothed out. Unlike most stencil fonts this one has a lowercase that matches the strength of the uppercase. The lowercase has been designed with an x-height equivalent to the cap height and barely protruding ascenders so that the user can interchange the upper and lower letterforms for a funky graphic effect. Super Duty is a robust and versatile stencil font family of 25 fonts — sharp and round variations with closed versions in 2 weights each. These are provided in 3 widths — regular, narrow and condensed. Super Duty includes a text version that has more regular proportions and letter forms for a well rounded display font system.

Introducing Abesif sans serif font. This font is stretched from the normal theme, it is boring, while different, it seems strange. from there we design the appearance of this font that is not normal so that it is not boring and we display it differently but not look strange. so if you use this font it will look different from the others but it doesn't look strange because it has a normal design. so that it creates an impression that is easy for each of your audience to remember when they first see your project. This font is very suitable as text with displays for various kinds of branding, advertisements, posters, banners, packaging, news headlines, magazines, websites, logo design, banners, social media design and of course you can use a lot more.

Introducing Bellyman Typeface The Bellyman Typeface is made with the concept of a modern font display that gives a unique impression because it has a curvy shape like waves that is charming and unique. The serif style adopted by the Bellyman font is a 2022 style font, has a unique swash alternative, has a large selection of ligatures. In addition. Serif typefaces such as “ Bellyman typeface” are very easy to apply to any design, especially those with an elegant and smooth 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 Bellyman typeface contains 623 glyphs with many unique and interesting alternative options. In the poster preview all the letters are in the Mongkeg typeface.

Introducing Mankey Typeface The Mankey Typeface is made with the concept of a modern font display that gives a unique impression because it has a curvy shape like waves that is charming and unique. The serif style adopted by the Mankey font is a 2022 style font, has a unique swash alternative, has a large selection of ligatures. In addition. Serif typefaces such as “ Mankey typeface” are very easy to apply to any design, especially those with an elegant and smooth 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 Mankey typeface contains 704 glyphs with many unique and interesting alternative options. In the poster preview all the letters are in the Mankey typeface.

Smashed Typeface is a reversed-contrast, slab serif, display font. Was inspired by the old west days that we can often see in printing, circus posters and wanted notices in western movies, even tho the style was really used in many parts of the world during that period. This style is sometimes called as "circus letter" too. Was designed to have a modern look, using straighter lines and an extended style, can be used on various situations like posters, logos for restaurants, alternative business like an old washing station (as you can see on the next images), music bands etc. I believe that is a promising typography that can be used by various designers in a lot of diverse project. It counts with 226 multi language characters, one weight on version 1.0, on a next version I hope to take this project to another level, creating a variable typeface from condensed to really extended weights. It would complete this typography and eliminate the limits of use.

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

Meet Byra! A new approach to a decorative typeface. This typeface has asymmetrical terminals (round), which means than has serifs, but not in every side of the letterforms. The mix between both classic and modern elements, as terminals and the inverted contrast, gives the typeface a strong personality. Byra contains two weights, regular and bold, it’s a display typeface and great for headlines, branding and editorial proposes

The Bernound is an amazing typeface which comes in three weights. The clean weight comes with rounded corners and a slim shape that presents a minimalist impression. The outlined weight has a fancy feel when displayed on its own, and the rough weight has a vintage, rustic, and grunge look. All weights can be combined perfectly which gives you the opportunity to create endless unique designs with just this one download.

The core design of Pepper family, designed by VIDI Visual Design Studio, is the fingertip handwriting style inspired by children’s writings on windows. This distinctive low-contrast typeface combines characteristics from neo-grotesque and organic models. Warmer than most Helvetica inspired typefaces, Pepper has organic shapes, playful strokes, rounded endings, and a generous x-height which makes Pepper easy to read. This family could be used well for food packagings, content aimed for children, book covers, branding, high-impact titles and small body texts, advertising, editorial design and more. What makes Pepper Sans Vol.1 competent and more spicy then some other fonts is that it contains a set of more than 900 characters for each of 5 weights that support many Latin-based languages, Greek and Cyrillic. As the weight decreases, the typeface gains impact with becoming elegant, giving titles in (Hair, Thin or Light) a breath of fresh air. We derived a typeface family consisting of Hair, Thin, Light, Regular, Semi Bold in this Vol.1 edition. Typeface features: • 5 weights: Hair, Thin, Light, Regular, Semi Bold • Latin, Greek & Cyrillic multilingual support • More than 900 characters for each of 5 weights Font Specs: • Created: August 2020 • Files type: .ttf

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

Helion is a font designed by Ethan Dunham that has a sleek sci-fi feel to it. While it appears to be monocase, many of the lower case letters are different, though the x-height equals the cap height. You can use this to add variation to your headlines.

Hoyle is a dynamic high-quality serif typeface. Drawn and created by Måns Grebäck between 2019 and 2020, this classic design makes use of the fact that timelessness is the best manner to achieve modernity; the letters are of such composition that they will always be simultaneously contemporary and traditional. Hoyle is a family containing five weights: Thin, Light, Medium, Bold and Black. Each weight is also provided as Italic, resulting in 10 unique styles. The weights are harmonic and created to balance perfectly agaist each other. Try the included Variable Font! A format where you can set any weight manually, and any slant, resulting in more than 5000 variations. More info: https://www.mansgreback.com/variable-fonts This slab serif typeface is also filled with OpenType features such as ligatures, alternates, oldstyle, superscript, subscript, fractional and alternate numbers. It has a very extensive lingual support, covering European Latin, Vietnamese, Zulu and many more scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Confitería is the Spanish word for a shop where sweets and chocolates are made and sold, which sometimes has a tea room. And now Confitería is also a font that brings to mind lettering piped on delicate cakes ... sweet but never sickly. This font captures something of that simple and innocent beauty of traditional confiterías, where good manners will never go out of fashion, menus are elegant and time comes to a standstill to make way for life’s little pleasures. A confitería is a perfect place to share sweet tidbits with a friend or date, eavesdrop on the conversation at the next table, read a book, or just people-watch from the window. I celebrated my last birthday at one. There is one iconic confitería in Buenos Aires that I love more than the rest because, some 60 years ago, it put up its marvellous sign and never took it down. Walking by it is sure to bring a smile to your face. It’s big. Very big. And the lettering in its name is written in a timelessly beautiful vertical script – the most attractive I have ever seen. I joined forces with Sol Matas – who worked with me to update the Montserrat font –to design this geometrical connected font with pleasant, even strokes. It is elegant and saccharine-free. And to top it off, it comes in several flavors. Welcome! What can we get you?

Lettuce is Modern Calligraphy. This font was designed by handwriting, and it has a modern and unique forms of calligraphy, the writing style is very natural. has 354 glyphs of which 185 alternate glyph The Features of this fonts is; Standart ligatures Stylistic Alternates Stylistic sets Lettuce Have PUA Unicode (Private Use Areas) Programs that support in this font is a Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. Can be used for various purposes.such as headings, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges etc. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7

Raytone is a cute and delicate handwritten font, designed with the help of a brush pen. It has a cheerful style that will elevate your projects to the highest level. Use this lovely font to brighten up any kids and school projects.