Dogwood is suitable for captions, packaging, logos and the web. In 4 styles with a distinct authoritative character. There are a variety of ligatures and alternate glyphs.

OHG is pleased to announce the release of Tynne 2.0, now with two new out-line, drop-shade fonts which work independently as attractive display faces in their own right or one layer of a two layer, chromatic typeface. In addition, kerning and letter spacing have been adjusted and improved to ensure all characters will line up correctly when layered. Tynne, Is a strong, wedge-serif, condensed display font. Deep �ink traps�, subtly varied forms and open counters bring to its even colour and pleasingly regular rhythm a bit of syncopation and sparkle making it ideal for packaging, elegant yet informal headlines and posters. OpenType features include over 70 standard and discretionary ligatures and digraphs, three sets of figures, alternate characters, small caps and swashes. We are proud to acknowledge the assistance and contributions of fellow type designer, James Arboghast.

Bluset Monospaced enlarges the re-worked and expanded text- and headline typeface family Bluest Now with 6 new cuts. The concept for Bluest Now was based, in its original form, on a corporate design typeface by Elsner+Flake in 2004, ordered by the Landor Agency for a large German energy corporation. Regularly re-worked and brought up to modern standards, the typeface is still used to this day. Because of its large x-height and its well-balanced appearance, Bluset Now Mono is also excellent for use in small typesizes. The three Roman cuts, Regular, Medium and Bold, and the corresponding obliques, allow a clear differentiation of base- and display applications for every typesize. The character complement has been created for 72 Latin-based language areas and thus allows a neutral text exchange across language borders. Translation Inga Wennik

A new 100% handmade brush script font family with lots of swashes, alternates and extras. Caps letters in the script font can also be used as a separate font, so you are getting three, not two, fonts + some extras such as catchwords & design elements. Each letter was carefully traced by hand and have clear edges so both fonts can be safely used on a website (sans serif is 61kB and script is 150kB only!). The font is fully unicode mapped. Most letters in the script typeface have few different swash styles that can be accessed via OpenType panel of your application such as Adobe Illustrator, Adobe InDesign, Adobe Photoshope and even MS Word. If you are working in Sihouette Studio, to get an access to all glyphs you may need an additional software (for example, PopChar or Ultra Character Map).

Copenhagen has been in need of a typeface that unites the city’s many visual expressions. The three designers Morten Rostgaard Olsen, Henrik Birkvig and Ole Søndergaard have designed and developed the typeface FP København. Now available from MyFonts in 20 styles: Uprights & Italics, small caps, pictos-characters, stencils, sprayed style, OT-features, ligatures, contextual alternates etc. The shapes of the letters are inspired by the city’s culture and the visual environment and design in Denmark in the 20th century. It is relatively low and wide as the city itself and with rounded corners that give it a warm visual mood. “You can find examples of the use of a typeface with the same purpose in other parts of the world, for example, to identify local areas or urban tourism materials. FP København is our take on that kind of typeface” the designers add.

The details that work for ITC Bradley Hand™ at smaller sizes, might be a little too distracting for some at larger, display sizes. Bradley Type™, is a little softer, more refined, and a touch more condensed - especially useful if space is an issue. It can be used as a compliment or counterpart to Bradley Hand, or on its own for short bursts of text or headlines. Richard Bradley explains, I designed the family for casual home computer users as well as professional graphic communicators. For anyone who's looking for a handwriting typeface, Bradley Type can be used at a variety of sizes for diverse projects." For added versatility, it's available in three weights, from the lean Regular, through Bold, and Heavy; and a number of ligatures and alternates for variety, and that little added flair."

Vagebond is a monoline family in three widths, Condensed (C), Normal (N), and Extended (XT). With Vagebond I was inspired by a very old television I once saw on a junkyard. I wanted to create a typeface with round edges that would fit within the 4 x 3 proportion of the screen. It had to be monoline, because that gives it a very simplistic and minimalistic look. Having created the XT width I felt it needed the both complementing widths to make it complete. The Condensed version, for me, is the funky rounded version of the DIN. I love DIN, but it sometimes feels just a bit to ‘normed’ for me. Vagebond C brings in a bit more personality. Although Vagebond looks kinda ‘oldstyle’, it works very well in futuristic designs. It feels best in combination with a super futuristic 3d object.

Santoro Script is a fun, happy script font created in the style of handpainted sign lettering. The first brand-new font added to the Jukebox library since 2011, it displays a jubilant attitude which will add a spontaneous, warm and friendly look to any design. The typeface contains three versions of every letter found under the Swash and Stylistic Alternates OpenType features as well as a few additional letter versions and ligatures under the Titling and Discretionary Ligatures OpenType features. These extra alternates help give the font a hand painted feeling. Jukebox fonts are available in OpenType format and download packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

HS Alwafa is an Arabic display typeface. It is useful for book titles and creative graphic projects where a contemporary, streamlined look is desired for digital purposes. The font is based on the simple lines of sequre Kufi calligraphy, that support Arabic, Persian, Urdu and Kurdish. This font was created in the beginning as a digital weight in 2012 for use by an engineering digital company. The company tends to follow the geometrical united and equal shape in both vertical and horizontal dimensions and with a tendency for digital strokes showing digital numbers under the name of base. I followed that with three styles: first, the digital with a solid base, second is a stencil and the third is the regular solid font. By producing this font, we provided the Arabic fonts library with various styles which grant many design purposes.

Giulietta is a handwritten, fully connected script with ligatures and contextual alternates to help with flow and readability. It can be used for invitations, greeting cards, posters, advertising, weddings, books, menus etc. Giulietta pro is the most complete style, it contains over 830 glyphs, 7 stylistic sets, contextual alternates and ligatures. Every lowercase letter has seven variations (uppercase letter has three). To get the alternate glyphs choose various stylistic sets or just add "*1", "*2", "*3", "*4", "*5","*6" or "*7" before the letter in any OpenType savvy application or manually select the characters from Glyph Palette. Giulietta A, Giulietta B and Giulietta C have less glyphs than the Pro one, they only contain some selected alternates and ligatures. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Raniscript started out as an idea for a bold and strongly structured ronde style script with some contemporary touches. As I tinkered with various forms it took on a life of its own. Having an old world feel, it makes me visualize faded shop signs from India written in English. The name comes from a series of colorful vintage matchbook designs advertising the Flying Rani. You'll find Raniscript ideal for packaging, book titles, brochures or anything requiring a robust display treatment. It comes fully loaded for OpenType savvy applications. Three full sets of caps are included. By clicking the Titling button in Illustrator you can type using an all caps set that includes ligatures, case sensitive punctuation and language coverage. Other features include oldstyle figures, Central European language support, fractions, contextual letter substitution, swash characters, and ornaments.

Introducing Merimount - Your Ultimate Layered Overlay Font Elevate your design game with Merimount, a versatile and innovative layered overlay font that allows you to create stunning typographic masterpieces effortlessly. With three unique styles—Merimount Regular, Merimount One, and Merimount Two—this font opens up a world of creative possibilities. What sets Merimount apart is its layered design, enabling you to stack the fonts for a dynamic and dramatic effect. Experiment with different combinations and take advantage of the blending mode feature to achieve the perfect look for your project. Whether you're going for a bold and impactful design or a subtle and sophisticated feel, Merimount has you covered. Ideal for a wide range of design projects, from posters to branding, Merimount adds a touch of creativity and flair. Unlock the full potential of your designs with this must-have layered overlay font. Uppercase

Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the "oldstyle" of the Italian renaissance, its contrast reveals a clear underlying modern influence. In a typical Italian artistic fashion, Paganini manages to be a superb text face while having enough priceless ornamental moments to make it great in display uses as well: Check out the splayed M, the wide-tailed g, the flowing tail on the y, the high-armed k, etcetera. While the original metal version was limited to five basic fonts, this digital expansion includes small caps in the three main upright weights, plenty of alternate forms in all fonts, a super-seductive Open font, and an expanded language support covering the majority of Latin-based languages.

Zest is an informal brush script drawn with quick, thick brush strokes. While it is based on everyday handwriting, the expansive and easy flow of the script hides the care that has been given to the crafting of each character. In style it harks back to the hey-day of American lettering and calligraphy, yet it has a looseness that is thoroughly modern. Zest comes in three styles: -- Zest-Medium, which is medium-weighted and appropriate to a wide range of applications; -- Zest-Drama, in which the contrast between the the thicker and thinner parts of a brushstroke has been dramatically enhanced; and -- Zest Bezel, in which the brush strokes have been given a contemporary, square-cut appearance. Zest is ideal for invitations to stylish but relaxed events, for advertisements that are intended to create a special ambiance, for posters and for announcements.

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen. The Linotype Office Alliance fonts guarantee data clarity. All of the font weights within the individual family have the same character measurements; individual letters or words may have their styles changed without line wrap being affected! All numbers, mathematical signs, and currency symbols are tabular; they share the same set character width, ensuring that nothing stands in the way of clear graph, chart, and table design. In addition to being extremely open and legible, the characters in this collection's fonts also share the same capital letter height and the same x-height. The production and reading of financial reports is duly streamlined with the Linotype Office Alliance fonts. The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype's Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text. The other three families in the Office Alliance system include Metro Office, Times Europa Office and Trump Mediaeval Office.Some weights of the Neuzeit Office are availabla as soft rounded versions. "

Hello there! We are introducing my new font - Skypilot! This font is carefully selected from hundreds of letters. We manually created this font using a flat pen and make it as close as possible to street graffiti style. Not only that, we also make another typeface that is perfectly suited for this theme, Skypilot extruded! With those fonts, you can combine them as a pair to make them a layered style! You will make exquisite real street graffiti art just like on the wall that you saw in the city! Besides all this, the Skypilot Swashes and ornaments are designed to make your designs more fun! You can apply this font to t-shirt designs, posters, covers, video thumbnails, merchandise, wall, and so on to make it look special. ——— Skypilot features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +379 Total Glyphs +100 Graffiti Swashes and Ornaments included! ——— ⚠️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). ⚠️For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

Soliden is a neo grotesk san serif font family with solid letterforms. Designed and published by Eko Bimantara in 2022, Soliden became a suitable choice for large display and functional purposes. The letterforms are built in large x-height with spacious counters. It consists of 8 weight from Thin to Black and 3 width; Condensed, Normal and Expanded, which make it a large font family with 48 styles. Soliden has 394 glyphs which cover broad latin languages.

A clean, symmetrical and modern typeface. The font (previously named "Heimat Grotesk") was developed by Florian Klauer for display and body copy application. What stands out about this font is it's large x-height and constant line-weight. Nearly all letters bend with a continuous unfaltering style, giving the impression all letters are cast from the same mold. Florin Sans comes with two weights plus matching italics with 268 glyphs each, and is available as TrueType and OpenType font.

Inerta is a neutral, but not flavourless, cross between a geometric sans and a neo-grotesk. It is designed to work perfectly in UI/UX applications, and to remain readable in smallest font sizes. With over 950 glyphs, the font family offers extensive language support and many typesetting options to choose from. The typeface can be customised with several sets of alternate glyphs and OpenType features. The Cyrillic part contains alternates for Bulgarian as well as alternative Ukrainian forms.

Generisch - a german equivalent of generic - sans serif typeface has gain its own place among designers and earn such popularity due to its "simple" design. Generisch is influenced by early grotesk typefaces from early 1900's when sans was starting to get popular and used as a body type. Some old ligatures such as ch ck and ng are present in generisch (not the ct and st tho), old style numeral for better typesetting experience and more.

Ideal is a neo-grotesk typeface characterized by exaggerated pro­portions and an un­­con­ventional shift in balance such as in its a, k or s. Following low-contrast construction principles and with a generous x-height, Ideal works well both for expressive headlines and versatile reading sizes. The family consists of ten weights plus corres­ponding Italics. It supports languages written with Latin, Cyrillic or Greek alphabets. Each font includes fractions, tabular and oldsytle figures, arrows, ligatures and more.

Hi There! Meet our first modern serif typeface Palmire Palmire is a stylish font that is both modern and minimal. A light font that is perfect for feminine logo marks, fashion mastheads & editorial design (works great in layout design for quotes or body copy). The ligatures feature is so amazing, you can convert regular random word to elegant logo just by using the ligature. And there is 75+ ligature to support your amazing design project! Is there anything else? Of course! it has multilingual characters too! We work so hard to keep this elegant font looks elegant, classy, readable, stylish, eye-catching, and easy to use. You can easily pair them with script or sans serif font from all over the world to make your work more interesting!

One day, when I was walking with my daughter Greta, I stopped in front of the windowshop of a bookshop, that caught my attention, but Greta was pretty irritated, as always when it comes to books: she is dyslexic. All things written are basically a nightmare for her!So one thing came to my mind: if the great Louis Braille, with visual impairment, invented an instrument that allowed blind people to read, write and play,there had to be a tool that made it easier for dyslexics to do the same things. So, I proposed to Greta to create together a font to help her and other dyslexics. We worked on it, becoming a bit of graphic designers, inventors and guinea pigs at the same time.We brought some initial changes to the mirror letters "pq bd", based on some examples already available on the market, that improved reading times, strenghtening our willing to go ahead. That's how "GretaDS" is born, a completely new font, from the "handwritten" family, which marks a difference on the mirror letters, making them easily recognizable, as well as the lowercase couple rn (RN) which can be confused with the letter "m", not to mention the capital "I" (vowel i) indistinguishable from the lowercase "l" (L)We hope, that other graphic designers will follow its flow, modify and improve the path, and make the most of its energy, to offer dyslexics a tool that make reading as easy as drinking a glass of water.

When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

Useful links Font Specimen SFT Schrifted Sans: The Story of Font Development Article Contacts Follow us on Instagram to know all about our future projects and updates. If you want to customize SFT Schrifted Sans, need font files or have any other questions, please reach out to us at info@schrifteria.xyz. About SFT Schrifted Sans SFT Schrifted Sans is a functional geometric sans-serif typeface with a Nordic character. It can serve as a stylish text font and as an eccentric headline one. With multiple subfamilies (wide geometric and compact neo-grotesque) and numerous alternatives, SFT Schrifted Sans can be customized for various projects and transformed beyond recognition. SFT Schrifted Sans has wide language support: 200+ Latin and 60+ Cyrillic languages, including specific localized forms (for example, for Bulgarian and Serbian languages). Visit the font page for more information. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean-Creole, Gwich’in, Haitian-Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-sine-Flexione, Latvian, Lithuanian, Lojban, Lombard, Low-Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam-Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese-Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami-(Inari-Sami), Sami (Lule-Sami), Sami (Northern-Sami), Sami (Southern-Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish-Gaelic, Serbian-(Latin), Seri, Seychellois-Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio-(Latin), Somali, Sorbian (Lower-Sorbian), Sorbian (Upper-Sorbian), Sotho (Northern), Sotho-(Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok-Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen-(Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Russian, Belarusian (Cyrillic), Bosnian (Cyrillic), Bulgarian (Cyrillic), Kazakh (Cyrillic), Kirghiz, Macedonian, Serbian (Cyrillic), Tadzhik, Ukrainian, Chechen (Cyrillic), Bashkir, Chuvash, Tatar Volgaic, Mongolian, Uzbek (Cyrillic), Avar, Dargwa, Ingush, Kabardino-Cherkess, Kumyk, Lak, Lezgian, Ossetian, Tabasaran, Buryat, Komi-Zyrian, Touva, Mordvin-moksha, Udmurt, Adyghe, Dungan, Rusyn, Oroch, Enets, Chulym, Aleut (Cyrillic), Karaim, Udege, Nganasan, Ulch, Akhvakh, Ket, Karata (Karata-Tukita), Kildin Sámi, Yukagir, Karakalpak, Archi, Saami, Uighur (Cyrillic), Nanai, Koryak, Tsez, Soyot-Tsaatan, Tindi, Veps, Andi, Turkmen (Cyrillic), Karelian, Godoberi, Besermyan, Chukchi, Even (Lamut), Gagauz, Altaic, Moldavian (Cyrillic).

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Sada is a text font designed with hand held devices and ebooks in mind. Glyphs are designed to be larger than usual and very clear with soft visual characteristics and many traditional Arabic calligraphic transitional features incorporated to improve legibility. The word “sada” means “echo” in Arabic. Even though Sada is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Sada supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with three weights, regular, bold, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Sada includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Sada’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters. Kashida is zero width glyph.

A couple of years before the second World War, Marcel Jacno, the popular French graphic designer who in the 1930s designed iconic posters for Gaumont and Paramount and famously illustrated the Gaulish helmet that first adorned the Gauloises cigarette packs in 1936, was asked by Deberny & Peignot to design a calligraphic typeface for the advertising market. Jacno's Scribe design, billed by D&P as a "virile ad writing" typeface, was released to some great fanfare in 1937, enjoyed some time of French spotlight, and was ready to make waves in the rest of Europe before the war broke out and snuffed its chances at international recognition. However, samples of it can still be found in some specialty post-war publications as an example of a trend that lasted a couple of decades, when Western European type manufacturers commissioned famous visual artists to design typefaces in order to capitalize on the artists' fame - the trend that brought us standards like Futura and the long list of Lucien Bernhard and Imre Reiner faces. This exclusive digital version of Jacno's design expands on the original concept with a large character set that includes plenty of alternates, a couple of different ways for seamless lowercase connections, three sets of figures, and extended Latin language support, adding up to over 540 characters in a one big, contextually-programmed font.

Maya Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s) and “Idea Book” to get you started on designing your own wallpapers, textiles, stained/etched/privacy glass window films, or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc) and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

Sisters is a lively set of stencil display typefaces designed by Type-Ø-Tones’ co-founder Laura Meseguer. The family features four fresh fonts that share foundational principles of construction yet complement each other—as sisters do—by celebrating their differences. Variations in contrast, weight, and design characteristics result in four distinct styles dubbed One through Four. This cool quartet contains no lowercase, asserting the family’s rightful place in the titling typography space. Like many Type-Ø-Tones typefaces, Sisters was conceived as a custom lettering project—in this case, the design was crafted for the identity of an art exhibition. Laura initially drew only the limited character set the show required, but from the outset, she saw great potential for a fully developed type family based on her lettering concept. The first member of Laura’s new family was, naturally, Sisters One. She later added contrast to produce Sisters Two, then equalized the weight of Sisters Two to create Sisters Three. To round out the group, Laura added a deco touch to Sisters Two, resulting in the festive but retro-elegant Sisters Four. Each Sister shares DNA with the other members of the family, just as human siblings do :). Credit for the Sisters name goes to Eider Corral and we couldn’t imagine a more fitting moniker for this little family.

Techarí comes from a commission in which the brief consisted of the creation of a typeface family to be used for the design of the third disc of the band called Ojos de Brujo based in Barcelona. This disc was called Techarí, which means “free” in Caló, the language of the Spanish gypsies. The starting point of the design was the music of this band, the meaning of the disc 's name, and three words given by the band as key concepts: ethnic, baroque and graffiti. Techarí is a mixture of lots of influences, which give it its unique personality. From its technical viewpoint designing Techarí was a challenge, on the one hand it had to have lots of personality, and on the other it had to work in text at 9 or 10 pt size. Its goal is precisely that, while keeping a strong personality it works in text size. The typeface also contains a Stencil version for use in display sizes which keeps Techarí's innovative spirit. The way it has been “cut" is unconventional, it has been carefully done to keep the freshness of the typeface by taking advantage of the letterforms' flow. Techarí extra complements the typeface by taking a classical typographic form, the ornament, and making it a contemporary graphic tool, vindicating this wonderful typographic element.

Le Havre Rough. It’s high-resolution, hand-crafted letterpress to the core. Based on insigne’s popular Le Havre typeface, this new heat-treated, weathered face of all caps joins the realism and appeal of the top-quality Le Havre family. Rough’s eroded, printed look is extremely customizable, offering eleven distressed choices that appear fantastic even at large output sizes. Go ahead. Try it on, say, a billboard. Maybe even Times Square. The font includes hand-printed texture and distinctive shadow choices, too. Options include three inline versions, two shadow layers, and a clean primary version. Combine and match the options easily as you need, layering normal and shadow variations to alter appearance and texture. You can activate Art Deco alternates by using OpenType contextual alternates. Rough has an extra-large character set for many languages. Additionally, the typeface offers 62 extra ornaments like arrows, emblems, numbers & lines. Use its full texture and grit to capture the classic, genuine print feel that you need in your project. A few suggestions for use: - In Photoshop, jigger with various 'anti-aliasing' options for best outcomes. Smooth or strong is generally best. - In Illustrator, the shadow layer occasionally doesn't align when using the regular layer. To fix the alignment, open the type drop-down menu and choose Area Type Options > Em Box Height. Learn more about the using layered type styles on this informative video.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Welcome, esteemed customers, to our magnificent array of fonts! It is with great pleasure that we present to you the rusticized Steelfish Hammer, a variation of the popular Steelfish typeface. Its rugged appearance embodies the sincere and trustworthy nature of your message, evoking sentiments of the utmost assurance. With three textured letter variations that are shuffled automatically in OpenType-savvy applications, the Steelfish Hammer typeface creates an unparalleled realistic impression. To disable this effect, simply toggle the “standard ligatures” feature in your application. And oh, the compact letterforms of the Steelfish Hammer! They are nothing short of exquisite. Each of the five weights and italics of this typeface is a testament to the power and resilience of your message, with every character carefully crafted to achieve the desired effect. There are other kinds of Steelfish too: Steelfish Regular, Steelfish Rounded, Steelfish Steeled and Steelfish Unleaded. Come, delve into the world of typography with us and experience the unmatched beauty of the Steelfish Hammer. Let your message speak with confidence and authenticity, as it is our utmost priority to provide you with the best tools to achieve your goals. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Victorian Leaf Ornaments are a collection of leaves drawn in the exotic Victorian style. There is an assortment of 47 ornaments all located under the character set keys.

Sideron is a first release and has some minor similarities to Broadway in its thick and thin strokes but is much squarer. There is also an Italic version.

Monograms or connected letters are very popular; apart from looking elegant, the monogram will also present an impression that sticks in the eyes of the audience. Lougra has more than 100 monograms or ligatures, making designing an initial or logo easier. Lougra is elegant and minimal modern sans serif. It has three contrast options which are display, regular and text.

Jeames brings familiarity to the often detached feeling extended serif genre. The curved, heavy, joints let the letters bounce along while the proportions and contrast keep your eyes grounded. This mid century inspired family of three weights is intended for large titles and display. The set includes language support, opentype fractions, and other fun glyphs. You can learn more about its development here.

A modern display typeface with ultra sharp detailing. The unique line style takes influence from earlier fonts produced in the 1970’s by Letraset. These lines are then blended with a stronger letterform creating a more visually dynamic font suitable for today’s market. Details include: three unique styles, all caps character set with alternatives, manually edited kerning and Euro symbol.

A festive, elegant script, Corinthia flows with perfect connections and beautiful curves. It’s a delightful design that offers wide usage... Available in OpenType format, this award winning font comes with over 500 glyphs, and character sets for European languages. All three weights are perfect for creating elegant design work from packaging and romance novels, to invitations and social expression products.