I have just returned from a trip to Malaysia, Java and Bali with my family: my wife had some family business there, so we turned it into a holiday. The last time I visited these places was 26 years ago and I knew things would have changed, but I wasn’t prepared for the ugly truth. Malaysia’s interior has been converted into one big oil palm plantation, Java is choked in plastic and Bali is one endless string of concrete hotels, restaurants and cheap tattoo parlours. Plastic Fantastic is not an ode to the many uses of plastic. It is a wake up call: we really need to stop using disposable plastic! You can start by implementing the Plastic Fantastic font family in your durable water bottle designs, the compostable bag holding your organic potato crisps or that big ole sign advertising your local food truck event. Or whatever it is you want to create. ;-)

Multilingual, semi-connected​ display brush script, Nagamaki is perfect for logos, food packaging, menus, labels, apparel, advertising, cards, branding and more. Nagamaki comes with a set of lowercase swash alternates, ligatures and ending terminals. Inspired by my writing created with Pentel Touch Brush Pen and polished into clean forms, it’s stroke endings on letters like l or t reminded me of Japanese Katana swords. After researching the swords I named the font Nagamaki, which is a type of Katana sword with an extra long handle. It works well in smaller sizes and for more text but it shines in medium to large point sizes. You can access all the OpenType features through Adobe, Affinity and other similar software. With a couple of defining features like double story lowercase g and alternate lowercase r it makes a perfect choice for giving a little character to your designs while keeping everything nice and neat.

ITC Typados is the joint effort of Roselyne and Michel Besnard and is composed of characters in two different senses of the word. First, it is of course made of letters and symbols, clean and legible with generous widths and x-heights. There is a hint of Art Nouveau style in the tapering, brush-like strokes. But the figures of ITC Typados are also made of characters in the theatrical sense: little tear-drop heads on tapering bodies that bend themselves into the shapes of an alphabet while maintaining a life of their own. The typeface is based on a recurring character in Michel's sculpture and painting, Ado. Ado is the first character who sings and repeats itself in all my creations," says Michel. "This adventure brings new forms for my painting and my sculpture: coiffed heads, bodies in the form of a cone, arms in the form of spread wings, etc." "Type" plus a number of "Ados" equals ITC Typados."

The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Memoriam Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just type a lowercase letter on its own. It’s that easy! Download and view the Memoriam Initials Guidebook if you would like to learn a little more.

Would you like a professional, yet friendly looking design? If so, Paradise Garden is the best option. Paradise Garden is a serif font in thick weights and round shapes. Due to the weight and shape, this font expresses cute, friendly impressions on your designs. Its main characters are first, the noticeable differences between the thick and the thin lines and second, vertical and horizontal hooks or little wipes on the edges of each letter. It is better applied for big texts for a legibility purpose. You can also enjoy fascinating features on this font. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Paradise Garden fits for various design projects, such as posters, banners, logos, book covers, album covers, quotes, invitations, greeting cards, printed products, 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 dealing with a problem. Thank you. Happy designing.

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

The inspiration source for MFC Phonograph Monogram is a vintage monogram specimen named “Kent” showing only a CBA sample. It was a style I could find no other reference for, but was desperate to recreate this record like styling of monogram. Finally, it all comes to life in MFC Phonograph Monogram. I even threw in a little dog and phonograph icons hidden in the font as decorative icons reminicent of old Victrola records. Phonograph Monogram supports two and three letter monograms, although the two letter style break from the circular record design and creates a zulu style shield design. MFC Phonograph Monogram uses the Ligatures feature, available in most OpenType savvy applications, such as Adobe Illustrator CS (see Fig. 1). The Ligatures feature is typically enabled automatically, but you may need to confirm this in your program if you are not certain. If any second lowercase letter typed does not automatically switch to form the right side of the rounded form, you do not have Ligatures enabled.

Spillsbury was inspired by some examples of 1920s signwriting (principally seen on the side of some vintage vans-good thing they were in a photograph and not on the move!). Spillsbury draws inspiration from these sources to provide a unique combination of legibility and flair, which echoes the charm of advertising and publicity material from the halcyon days of the 1920s. A basic range of four display faces os offered - Regular, Plain (not all that plain really!), Shaded and Shadowed. In a new departure for Greater Albion, three pairs of 'Duo' faces are also offered. These are designed to be used in pairs-and only sold on that basis for little more than the cost of a single face-to provide for two-coloured typographic design, enabling the recreation of those evokative two coloured blocked lettering styles that were used to such good effect in the past. Take a trip back to more colourful times today with Spillsbury!

Several roads have been closed around my village, so I need to drive alongside narrow country roads ro get my groceries done. The roads are so narrow that two cars cannot pass, so you need to use the (muddy) kerbs. A lot of cars these days have Xenon lights and they shine really bright and blue. I am non xenon-phobic, but I can tell you that the ‘old’ yellowish headlight were softer on the eyes, especially when you’re trying to navigate narrow country roads! Yes, I know, a long story leading nowhere, but a little personal story (in my opinion) is better than a boring text full of technical bla bla. A font is a font after all and I don’t need to explain what it looks like, because you can see that for yourself! Headlight Blue is a handmade, all caps display font. It comes with all the trimmings, including two sets of alternates that cycle as you type.

“Due Giorni”, two days in italian language, express a measurement of time, it can be little or a lot, depending on who or what it is used for. “Due Giorni” is a script font very expressive, fresh, agile and dynamic, hand-drawn with connected forms on slanted angle of 23º This font contain 542 glyphs with plenty OpenType features: Standard and discretionary ligatures, stylistic alternates, swashes, Old style figures, small caps, case sensitives and ornaments. It come also, with three kind of capitals: Roman Capitals, Small Caps (different proportions) and Swashes. Roman Capitals are inspired on the beautiful inscription found in the Augustorium’s house in Ercolano, Naples.those letters have been carefully drawn and sculpted. Swashed Cursive Capitals are similar to 18th century penmanship. “Due Giorni” is a versatile font that may give you the chance to create original logos and headlines, specially by many stylistic sets, ligatures and alternates that can be combined with them.

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Sudtipos is proud to announce the release of Découpe, a display typeface program of eight fonts, designed by María Carla Mazzitelli and born during her Masters in Typography at the University of Buenos Aires (FADU-UBA). Inspired by gestural graphic expressions –like paper cut-outs (découpes) and spontaneous handwriting– from the most diverse postmodern and contemporaneous artists of the design world, Découpe has been created specifically to be used in big sizes. A little bit irreverent and effervescent from time to time, this gestural sans serif family reveals its contrasts and asymmetrical shapes when it breaks through display functions. From Light to Extra Bold, it reaches the most extreme weights, looking for power and impact. This program is meant to catch the eye in typographic compositions, to shout it out loud and clear. Definitely, to be seen. *Découpe has been recently selected to be part of different typography exhibitions such as Tipos Latinos and the Type Directors Club.

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Linotype Textra is a clever twist on the sans serif genre, designed by Jochen Schuss and Jörg Herz in 2002. Schuss says this about Linotype Textra: "Two in one! The same Linotype Textra, which is so neutral and practical for long text passages turns into an eye-catching headline type when used in larger point sizes. The trick? It's all in the details. The type's clear, robust forms give it a high degree of legibility when used in smaller point sizes for texts. When used in larger sizes, the angular, slightly irregular forms that give the type its strong character become apparent. Hence the name Linotype Textra: pure text with a little something extra!" With 15 weights, the Linotype Textra family provides graphic designers with a good basis for almost any type of work. The five regular weights have matching true italics and old style figures, and the five small cap weights include tabular figures.

After my son was born, I found myself reading him a lot of books. A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something that only I could make. In short, I realized my son needed to be indoctrinated—I mean, introduced into the wonderfully wild world of fonts. So, I set about to make a board book to teach about typography, called “The Clothes Letters Wear.” You can learn more about the book here. I’ve made the captivating illustrations bright and colorful, and the use of different letter forms makes for a fascinating read to delight ages young and young at heart. And, as an added bonus, this children’s book has a custom designed font. I’m always looking for an excuse to design a new font, and this book created the perfect alibi. Drum roll, please. I now give you … Cabrito (“little goat” en Español). This new serif typeface incorporates the latest research on typographic legibility for children, features to make it—well, extra legible. A little background: studies show that Bookman Old Style is one of the most readable typefaces, and as a consequence or perhaps the reason why, it is used thoroughly for children’s books. This font became my initial inspiration for the typeface. Then, I found more legibility research saying that (brace yourselves) Comic Sans is also very legible for beginning readers, much due to the large x-height and softer, easily recognizable forms. In addition, forms that are closer to handwriting also seem to be more legible. Once I threw all that into my cauldron and stewed it a bit, the result was a pleasantly rounded typeface that includes not-so-strictly geometric, handwriting-inspired forms for the b, d, p, and q. Es guapo! Cabrito’s slender weights are simple and fun, with extras that turn any “bah humbug” into a smile. Add lighter touches to your project with the typeface’s included sparkles or rainbows (not included). Splash a little more color on the page with the firmer look of the thicker weights. Cabrito’s upright variations across all weights are matched by optically altered italics, too, giving you even more variety with the font family. This modern typeface’s bundle of alternates can be accessed in any OpenType-enabled software. The fashionable options involve a significant team of alternates, swashes, and meticulously refined aspects with ball terminals and alternate titling caps to decorate the font. Also bundled are swash alternates, old style figures, and small caps. Peruse the PDF brochure to check out these options in motion. OpenType-enabled applications like the Adobe suite or Quark allows comprehensive control of ligatures and alternates. This font family also provides the glyphs to aid a variety of languages. Cabrito is a welcoming, everyday font family by Jeremy Dooley. Use it to convey warmth and friendliness on anything from candy and food packages to children’s toys, company IDs or run-of-the-mill promotional material. Cabrito’s unique appearance and high legibility make it equally at home in print as it is on a screen.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Antonietta is Mauricio Astete Brito's first typeface, which is inspired by the eccentricity of the rococo style and Queen Marie Antoinette's wild personality. This project, supervised by Latinotype Team, was born from the idea of turning lettering into a digital typeface. Antonietta is based on the Copperplate style and inspired by the works of, among others, Hermann Zapf, Ricardo Rousselot and Herb Lubalin. The font comes in the following variants: Antonietta Script, Antonietta Caps, Antonietta Caps Illuminated, Antonietta Caps Shadow, Antonietta Caps Inline and Antonietta Ornaments. Antonietta Script is characterised by a big x-height, condensed proportions, and short ascenders and descenders, which can be modified by using the contextual alternates included in the set. Antonietta Caps, a companion font to the Script, is an all-caps typeface with rational structure and high contrast between thin and thick strokes. Antonietta is a 7-weight typeface well-suited for logotypes, labelling, headlines and short text. The Script variant contains a set of 878 characters that provide a wide range of contextual alternates to fit any project. The typeface also comes with an 'Ornaments' variant, which includes dingbats, borders and catchwords that complement the rest of the fonts.

This font has that grungy, gritty look, and combines it with some elegant swirls. Weird and wonderful. I have added swirls and decorations to ALL the uppercase letters that did not have them, so there are now wider possibilities to add interesting decorations to your composition. In addition to the expanded language support, of course. 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.

Boring Sans, designed by Cosimo Lorenzo Pancini, is a typeface family designed along two variable axis: weight and weirdness. These two parameters allow designers to explore a full range of variations on sans serif design, starting from a neutral set of proportions and evolving to a strongly contrasted and dynamic treatment, ready to raise eyebrows on social media. The basic "A" subfamily, developed in in five weights plus italics, behaves like a traditional, solid workhorse sans serif, with finely tuned proportions for optimal readability and minimal emotional impact. The "B" subfamily, developed in the same ten weights, shows a more contemporary "brutal" approach, with slanted lines, deep inktraps and stronger contrast. All these features are brought to the extreme in the ten weights of the "C" subfamily, with each letter a bombastic show of exhuberant weirdness. Each of the style variant is developed in five weight with matching italics, with a glyph set covering extended latin languages and including many alternate forms and stylistc sets. For control freaks the family package includes two variable font versions that allow fine tuning and control of the design options.

This font began its life as a project to design a T-shirt for a student group on a large midwestern university. It has now grown up into a unicode font, including Greek and Cyrillic. It has that look and feel of the T-shirts that are ubiquitous on the campuses of colleges and universities over the world. It would make an ideal tool for designing them, as well as posters and banners. Characters in these fonts include Latin, for English and other European languages; small a and c for names like MacDonald; many fractions, including 0/3 needed in baseball; Latin with diacritical marks for Eastern and Western European, Turkish, and Baltic languages; thorn, eth, cedilla, AE, OE, and sharp S for French, German, Icelandic; Latin extensions for clicks of some African languages; Greek (with tonos); Cyrillic for Russian and many other Slavic and Asian languages that use it; most Runes (the full Futhark plus a few more); six-point Brialle; currency symbols for dollar, cent, pound, yen, euro; and a few other extras like the peace sign. Available styles are regular block letters, outlines, and bold.

Mundane information—the sort you might ignore—often appears in the form of very simple, utilitarian lettering, devoid of personality, the sort of industrial lettering you find on old blueprints, park restrooms, and electrical boxes. MVB Diazo is such a thing. It looks like lettering done earnestly with a plastic template. The monoline caps—constructed from straight lines and simple curves—have rounded details as if rendered by a blunt pen on a topographical survey or by a router on a rustic campground sign. The MVB Diazo fonts are compact, available in two widths: Condensed and Extra Condensed. Each width offers four weights from Light to Black. The fonts are perfect for wherever plain and boring letterforms are required. All widths and weights are also available in two distressed textures (#1 and #2) that accentuate the industrial character of the design. Rough #1 is gritty, with finer texture for use at larger sizes. Rough #2 exhibits more damage, the roughness apparent when used at smaller sizes. The Rough fonts include alternates of a number of glyphs so that variation of texture is possible when letters repeat in a word.

Last Dance: Redux - The 80s Feel-Good Script Font - Updated! Welcome to Last Dance: Redux, a new and improved version of my popular brush-script font inspired by 80s movie posters, VHS covers and Friday nights at the video store! This hand-drawn script aims to capture the feel-good vibes of movie blockbusters that won our teenage imaginations, while serving as the go-to font for recreating this unique and nostalgic period. The original Last Dance font features a gritty, hand-drawn texture that looks equally at home on an aerobics competition poster or steamy urban thriller - making great titles that look distinctly cinematic. Last Dance: Redux takes that original design and strips it back to it’s bare essentials resulting in a clean, uniform look that improves letter flow and readability. It’s also much lighter on system resources making it the preferred choice when using extensively across print and web projects. Both versions come with upper and lowercase characters along with punctuation, numerals and language support, plus two full sets of alternatives and a selection of underlines. Check out the visuals to see it in action!

Introducing our first death metal font! We called it Black Dread! This brutal death metal font is can be used for logos or branding and your metal band name without having to pay for expensive logo-making services. Just by buying this font, you can immediately make your own band or brand logo name. Combine it with the death metal ornaments and make your own death metal design with ease! This black metal typeface is perfect for logotypes, t-shirts, vintage badges, branding, packaging, posters, clothing brands, posters, horror movies, album covers, and many more! ——— Black Dread features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +313 Total Glyphs +Death Metal Ornaments included! ——— Black Dread includes: Black Dread Regular Black Dread Outline ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

PUBLIC SERVICE ANNOUNCEMENT: Price Didone has inspired a full alphabetic font - Mastadoni, so if you're after more than numerals, head over there! Price Didone is a font with a singular purpose: The setting of elegant, stylish price tags. As such it is non-alphabetic, featuring instead numerals, a large array of currency symbols, and a smattering of typographic niceties such as quotes, brackets, pilcrow, daggers and a very curvaceous ampersand. Certain currency symbols that are not independent glyphs (Q, Ft, kr etc.) are included as their constituent letters, some of which also have automatic ligatures for that little something extra. There are currency symbols included which have not (yet) been accepted to unicode, such as the Russian Ruble and Bitcoin symbols. For ease of access, these can be typed using the standard ligatures feature. See features below for the full list. Features: Automatic Fractions - with fractions feature engaged, arbitrary fractions are a doddle. Stylistic Sets: SS01 - an alternate look for 4 SS02 - a double stroked dollar symbol SS03- the # sign becomes a stylish numero Stylistic Alternates - for software that doesn't support stylistic sets, the above three features are grouped into the one SALT feature. Standard Ligatures - certain typed combinations automatically change to different glyphs: B|| = Bitcoin symbol P- = Russian Ruble RM = Malaysian Rimgit symbol Rp = Indonesian Rupiah Rs = Rupees Ft = Hungarian Forint kr = Kroner symbol % off;%off;%ff = Special percent off ligature Discretionary Ligatures - this feature sets decimal prices like $5.95 with the numerals after the period smaller and raised from the baseline, underlined by a nice swoosh. It also shrinks the dollar, sterling, and Euro symbols for a more authentic look. While intended for one sole purpose, Price Didone could nevertheless be quite versatile. Quote marks and typographic symbols can be used for decoration. Everybody loves a nice ampersand and this is one I'm really proud of. Or you might just want some pretty numbers for your house, or sports jersey, or just to stand out a little from the rest of your text. Whatever use you may have in mind, go for it. And do let me know if your currency symbol isn't included, and I'll quickly add it to the glyph set in future versions.

Empresario Stephen F. Austin (1793-1836) is considered by many the “Father of Texas” for leading the first Anglo-American colony into the then-Mexican territory back in the 1820s. A few years later, while on a diplomatic mission to Mexico City, Austin was arrested on suspicion of plotting Texas independence and imprisoned for virtually all of 1834. During this time he kept a secret diary of his thoughts and musings—much of it written in Spanish. Austin Pen is my interpretation of Austin’s scribblings in this miniature prison journal (now in the collection of the wonderful Dolph Briscoe Center for American History, in the Texas city that bears his name). The little leather-bound book is filled with notes in ink and pencil—some of the faded penciled pages traced in ink years later by Austin’s nephew Moses Bryan. A genuine replication of 19th century cursive, Austin Pen has two styles: a fine regular weight, along with a bold style that replicates passages written with an over-inked pen. Each is legible and evocative of commonplace American penmanship of two centuries ago.

Metrisch is new sans serif typefamily of seven weights plus seven italics uprights in each weights. The typefaces designed based on traditional geometric construction that have been built with letter size wider, the x-heights taller and short descender that almost proportioned with the basic letter shape. With little details added like clean vertical cuts on the terminals and optimized sharp corners that makes this fonts smooth and refined looks. It was represents the flavor of the most common humanist typefaces style and grotesk feels. The weights comes from extra light to extra bold suitable to make display appearance, and the book and medium weights also works well as small/medium text sizes to accompany your design, such as editorial fashion magazine, solid headline, websites heading, poster, advertising, logo, signage, etc Also, Metrisch type-family fully loaded with OpenType features such as some stylistic alternates, case-sensitive forms, fractions, small capitals,and another most common numerals features such as super & subscript, tabular & oldstyle figures, numerator-denominator, and has more extended latin diacritics characters.

The inspiration source for Viper Monogram is the 1934 Book of American Types by American Type Founders. Found in that specimen book, was a sophisticated two-color monogram design called Hollywood Combination Initials, which was available in limited size metal castings. This wonderful monogram style is now digitally recreated, revived, and updated for modern use! Viper Monogram supports one and two letter monograms, but due to its super condensed style works best for three letter monograms. The default typing style for Viper Monogram is an all horizontal all caps setup which can be used for headlines and titling. Type in Capitals for an outline effect, lowercase for a solid effect. By enabling OpenType Contextual Alternates, you can type diagonal top-aligned monograms up to three letters. By typing in all lowercase, and layer a copy of the lowercase with Stylistic Alternates enabled, you can create a two-color effect. Viper Monogram is available in Pro format Opentype fonts only due its unique setup. Download and view the MFC Viper Monogram Guidebook if you would like to learn a little more.

Elise Dafisa is a modern calligraphy font with classic, sophisticated accents. It is perfect for branding, wedding invites and cards. Elise Dafisa includes a full set of lovely uppercase and lowercase letters, multilingual symbols, numerals, punctuation, and ligatures. All lowercase letters include beautiful and unique beginning and ending swashes (each letter has own "unpatterned" ending) . Also includes many multilingual symbols. WHAT'S INCLUDED : Elise Dafisa.otf SOFTWARE REQUIREMENTS : The fonts can be opened and used in any software that can read standard fonts - even MS Word. No special software is required , and a friendly little help file is included to get you started :) For folks who DO have OpenType capable software : The alternates are accessible by turning on 'Stylistic Alternates' and 'Ligatures' buttons on in Photoshop's Character panel, or via any software with a glyphs panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape. How to access alternate glyphs? you can see it on this link ( http://goo.gl/1vy2fv ) If you have any questions, please don't hesitate to contact me by email: Greatstudio92@gmail.com

Rifton is a heavy display typeface designed for use in large sizes. It is available as a regular and italic font or as one Variable Font with an italic axis. Installing the Variable Font offers users additional benefits because, in addition to the pre-defined “upright” and “italic” instances, the interpolations between them can be used. That allows you to have slanted text – but just a little less slanted than in the italic. Rifton is an all-caps design, but the letters mapped to the lowercase keyboard do not always have the same forms as the uppercase. That is most visible when it comes to the “s”, which takes a Star-Wars-style form (think of the Star Wars logo). The Rifton fonts also include OpenType features like ligatures – including some exciting discretionary ligatures – and super-wide alternate glyphs for several letters, including “B”, “E”, “F”, “H”, “L”, “N”, “P”, “R”, “T” and “Z”. Rifton is ideal for making a bold statement in headlines, poster designs, or logos. -

Nudista is a monolinear, geometric sans-serif based on the proportions of the Purista typeface, released in 2007. The forms are not based strictly on square shape, but rather on a pleasant oval, round shape. The letter outlines are smooth, even technicist, the geometric precision is however compensated in places where it would get in the way of legibility and compromise the desired visual impact. Nudista was originally conceived as a display type, but it is sufficiently legible even in text sizes. Thus, it suits short texts in corporate prints. Carefully chiselled letter curves are sturdy and well suited for the harsh conditions of low-resolution printing devices, they work well on computer screens and mobile phone displays. However, Nudista works best in corporate systems, navigation and orientation systems, where it may be, also thanks to the sufficient range of weights, a good alternative to the well-known and thus a little overused DIN. Naked typeface with no needless decorations humbly serves in all places where too expressive types could be disturbing.

Odisseia: Monospaced Typeface Made on Earth by Plau. Plau presents Odisseia, a monospace type family in 8 styles designed with simplicity of shapes and a humanist touch. We’ve ventured into monospace territory, where all letters must occupy the same amount of space. This style is usually associated with typewriters and computer terminal fonts. Like all monospaced fonts, every letter align vertically in a multi-line setting. The rhythm created is peculiar, since large letters such as m and w occupy the same space as narrow ones like i. Because we have 4 different weights: light, regular, bold and black the design of some characters have to be adapted to fit the same width and achieve a constant light/dark value throughout. These features make Odisseia suitable for a specific yet considerable range of uses, from computer coding to systemized communication such as brand identities. This style has been used from high-end brand identity to cutting edge digital applications. Odisseia sets a little shorter in comparison with other monospaced fonts, and bears a large x-height.

To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin, wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

Mela was created with a pointed brush and walnut ink using thick brushstrokes. The original idea was to make a kind of urban graffitti with a fat brush, but the final result is more refined and elegant. Something new - light and bold together. The letters are a little bit slanted using sharp strokes, the brush gives the illusion of a fat-tipped marker. This handmade typeface has a lot of contrast, it brings together the beauty of the calligraphic shapes and strokes with the esthetics of a modern urban style. It creates a carefree feeling, contemporary, adding a perfect modern touch to your work. The possibilities for customized layouts are limitless, using the opentype ligatures and alternates to you make Mela your own. Mela Pro contains 473 glyphs: alternates, ligatures, icons, ornaments, and much more. Mela regular is limited to letters, figures and punctuation. Mela & Mela Pro are perfect for headlines and short texts. Use it for magazines, packaging, advertising, branding, posters, editorials, TV, movies and websites to give to your projects the unmistakable human touch of beautiful handwritten letters.

Organic versus geometric are two different universes that converges on nature systems and has its reflection on this new sans serif typeface. Frambuesa is a half humanist-half geometric sans that merges decorative curves with straight lines looking for a balance. The result: a solid but somewhat romantic, nostalgic type program that go ahead harmoniously, dancing to the rhythm of a naturally imperfect melody. Frambuesa can’t hide its family genetics. Structure and proportions come from Elisetta, her older sister they so both have a really good text performance. Regular variables and italics feel comfortable in a lot of contexts and are useful for little words or big title compositions. All seven weights are carefully adjusted to achieve soft transitions between one and the other resulting in high readability levels on program combinations and complex uses. This new font family name is a tribute to Lucia’s childhood, a very happy one. Frambuesa honors this sweet intense red fruit that her grandpa’s Coco gave to his grandchildren every Sunday in the summer.