A common creation: (to pass from one hand to the other): For the first time, various hand-signs from diverse sources are unified into one single visual style. This compendium is the result of 15 years of incubation and 7 years of creation. In his travels throughout the world, graphic designer Jean-Benoit Levy, principal of the visual studio AND, has collected pictures of multiple hand signage. Uncertain what to do with those signs, he kept them year after year until the idea came to unify almost 200 handsigns into one single family. In accordance with this entire collection, the name of the typeface is a mix: "h-and-s". A global collection: (To put in good hands): We all have one thing in common: Hand-signs are an international language, they are meant to be understood by all of us. Each of us regularly comes in contact with modern hieroglyphs such as the hand-sign-codes that are so prevalent in our daily life. This way of communication belongs to no one in particular and to all of us in general. Even if the sense of certain signs varies from one culture to the other, there is a common hand-sign language. We are surrounded by this language of handsigns each time we step in a store, we eat, open a container of milk, we clean up, use package of wash-powder, by shaving, when we work, use tools, at home, by tearing the envelope of a condom, by traveling, etc. When we encounter these signs, we all understand them easily. A visual connection: (To go hand in hand): This typeface is a global visual statement. Collecting, ordering, redrawing, unifying. Reconstructed and assembled into one original alphabet, H-AND-S is a unique and complex signs program. Our choice is based on daily gestures and global hand-codes. Logically this typeface starts with the "American Sign Language" and expands on two type-variations, each on two levels of keyboard. The international team of H-AND-S would like to send his special thanks to all of the anonymous graphic designers throughout the world who designed different hand-signage and who influenced and inspired to create such a sign collection into one unified family. We, the global nomad team of AND, hope that you will enjoy our H-AND-S. Additional Credits Production: Studio AND. www.and.ch. Concept, Idea & Creative Direction: Jean-Benoît Lévy, Switzerland / USA. Research & Sketches: Eva Schubert, Germany. Illustration, Graphic Design & Visual Fusion: Diana Stoen, USA. Transfer, Adaptation & Refining: Moonkyung Choi, Korea. Finalization & Checking: Sylvestre Lucia, Switzerland. Coaching & Technical Advice: Mike Kohnke, USA. Creative Energy & Implementation: Joachim Müller-Lancé, Germany / USA.

Grenale Slab adds to the new standard of elegance within the Grenale family. Not your typical slab, Grenale has some unique forms that give it a look all its own. This glamourous slab still draws much inspiration from Grenale’s Didone sans and its haute couture influence. Independently attractive, it’s balanced and poised, with well formed strokes. Grenale Slab’s thin weights are simple but vibrant--elegant forms that naturally lend themselves to designer journals and high-end branding along with upscale applications. With added energy and power, the thicker weights give your work a firmer, statlier look. Grenale Slab’s upright versions are also matched by optically adjusted italics. The fashionable typeface includes a multitude of alternates that may be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously refined details with ball terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. Any of Slab’s weights also provide a well-matched companion to its original counterparts, Grenale #2 and the original Grenale. It’s time to think high-class. Graceful and assured, the carefully crafted forms of Grenale Slab step pleasantly onto each page with elegant charm. Include its range of alternate glyphs, and this chic font is a superb choice for bringing a far more refined look to your copy.

Grenale #2 shapes the new standard of elegance within the Grenale family. Not your typical sans, this pure, geometric structure with its glamorous sensitivity draws much inspiration still from Grenale's didone sans and the haute couture influence. Independently attractive, though, the form abandons the original's high contrast for its own minimal stroke variation, achieving proper balance through its graceful strokes. Grenale's thin weights are simple but vibrant--elegant forms that naturally lend themselves to designer journals and high-end branding along with upscale applications. With added energy and power, the thicker weights give your work a firmer, statlier look. Grenale #2's upright versions are also matched by optically adjusted italics. While unique in appearance, any of #2's weight also provide a well-matched companion to its original counterpart. The fashionable typeface includes a multitude of alternates that may be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously refined details with ball terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. It's time to think high-class. Graceful and assured, the carefully crafted forms of Grenale #2 step pleasantly onto each page with elegant charm. Include its range of alternate glyphs, and this chic font is a superb choice for bringing a far more refined look to your projects.

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos. It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart. All that inspiration is present in «Envelove», a play on words that reflects the love of letters. An expressive free-and-easy typeface that follows no formal calligraphic model and lets itself go with the meaning of words, rhythm and sensations. «Envelove» successfully joins three different fonts, «Envelove Script»—free, spontaneous and unique of its kind—going together with «Envelove Caps»—an uppercase style that builds controlled but dynamic words thanks to its alternates and ligatures, and to its own true Small Caps set as well—and «Envelove Icons», ideal to decorate and bring to life any written message. «Envelove» encourages you to write as if you have a nib, ink and an envelope. It invites you to take part in other worlds like a magic cocktail, a summer night, a long-awaited reunion, a first dance, a dish cooked with your own hands. The fashion world, gourmet, stationery, scrapbooking and everyone where a Handmade or Handcrafted feel is craved for, save a special place for «Envelove». (The illustration series that are shown with «Envelove» were made by the incredible Argentine illustrator Eugenia Mello.)

Prosper Rules is a distinguished serif font that exudes sophistication and refinement. With its timeless serifs and carefully crafted extended lines, this typeface brings an air of elegance to your designs. The defining feature of Prosper Rules lies in its extended lines, gracefully integrated into select letters. These extended lines add a touch of distinction and visual interest, elevating the font's overall composition. Each letter is meticulously designed to strike the perfect balance between tradition and modernity. Inspired by classic typographic elements, Prosper Rules captures the essence of timeless beauty. The serifs, with their subtle flares, provide a sense of stability and sophistication. The extended lines offer a contemporary twist, infusing the font with a touch of creativity and uniqueness. The uppercase letterforms of Prosper Rules are meticulously crafted, showcasing clean lines and well-balanced proportions. The extended lines, thoughtfully placed in specific letters, create a sense of flow and purpose. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Prosper Rules fits for headings, titles, logos, and any design project that seeks to make a refined and memorable statement. Whether you're working on editorial layouts, branding materials, invitations, or any project that demands a touch of sophistication, this font will lend a sense of timeless beauty. It is particularly well-suited for applications related to luxury, fashion, fine arts, and high-end products. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Clean and welcoming, the distinct look of Yorkten is remarkably satisfying to the eye. Straight to the point, Yorkton features a fashionable, geometric composition with angled main stems. There are no fewer than fifty-four fonts in the family, all of which are characterized by one of three widths – extended, normal or condensed. Each individual subfamily is equipped with eight weights from Thin to Black with respective Italics, giving Yorkten a breathtaking range of fonts to boast. The greater value for you, though, is its members’ ability to work well together. With a deep toolbox of weights and widths to choose from, this family provides you with significant value and a broad number of design solutions, making sure you have the tools you need for each challenge. So where should you use the font? Jeremy Dooley designed Yorkten’s underpinning structure to be compact. Combined with its superior features and terrific legibility, this versatile font can be used effectively for many jobs, whether in print or on screen. Use it freely for e-books and apps. Yorkten is particularly great for headlines, banners, posters, and websites. As with all insigne fonts, fonts that are well received by the market are expanded into future variants such as rounded or slab serif types. Yorkten’s later expansions will increase the versatility and functionality of the family. There’s no need to wait for these future releases, though. This new face already complements a number of other insigne faces, such as Grayfel, Look, or the Cabrito Superfamily. So what are you waiting for? Get Yorkten today and bask in the rich potential it offers! Get Yorkten and luxuriate in its straightforward multifunctionality!

Taca is a typeface built around a shape that Portuguese designer Rúben R Dias calls a “squircle” — neither square nor circle. We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese’s classic typeface, Eurostile. But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. Taca’s organic nature is also derived from another unique feature: rounded crotches at the right angles where perpendicular strokes meet. This subtle finish, along with blunt stroke endings, softens the otherwise rigid skeleton. With such a strong conceptual vision, Taca could be relegated to the bin of experimental designs, severely limited in their application. But that fate is usually born of a less experienced maker. As a teacher, designer, and letterpress printer, Dias is a type user, keenly aware of the functional requirements of good type. Taca is therefore not a slave to its concept, but a working font family, effective in various sizes and environments. Its lettershapes break away from the base shape whenever it makes sense for legibility, while still maintaining the flavor of the design as a whole. That said, a set of squircle-shaped alternates give the user the flexibility to get more stylized if the situation calls for it. Fitting to its functional aims, Taca has many of the features one expects of a proper text font: upper and lowercase figures, case-sensitive punctuation, and Extended Latin language support. The simplicity, openness, and squareness of Taca’s forms also make it an ideal design for the pixel grid of screen displays.

Calgera, is a typeface designed by Teuku Riski Firmana. Calgera is a contemporary serif typeface with a distinctive look. Calgera creates an unique character, with different stylistic sets you can change the feel of your design from more organic to more standard. with 9 weights ranging from Thin to Black. This is an elegant font, with beautiful and harmonious alternate, which makes it ideal for use in magazines, in the fashion industry, branding, logo design, dynamic packaging and countless other projects. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes and detailed elaboration of each character, making your text look great both on paper and on the screens. Calgera in numbers: • 108 styles and 1 variable fonts • 843 glyphs and 441 characters in each style • Support for more than 48+ languages • 27 OpenType features in each style • Amazing Manual TrueType Hinting • 4 variable exes (Weight, Width, Slant, Contrast) Useful OpenType features: Access All Alternates, Historical Forms, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Fractions, Oldstyle Figures, Ordinals, Numerators, Small Capitals, Discretionary Ligatures, Standard Ligatures, Small Capitals From Capitals, Case-Sensitive Forms, Denominators, Scientific Inferiors, Subscript, Superscript, Kerning. Calgera language support: Acehnese, Afrikaans, Albanian, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmål, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu, Tagalog, Serbian, Zazaki, West Frisian, Breton, Gagauz, Scottish Gaelic, Northern Sami, Esperanto, Latin.

Reline Rosery is an elegant serif font that radiates sophistication and grace. With its delicate letterforms and light weight, this typeface exudes a refined and gentle charm. The defining feature of this serif lies in its slender and graceful serifs, which add a touch of elegance to each letter. The light weight of the font enhances its delicate nature, giving it a subtle and airy appearance. This font is perfect for projects that require a refined and sophisticated typography choice. Reline Rosery captures the essence of timeless beauty. The serifs are meticulously crafted to create a sense of harmony and balance, while the light weight adds a contemporary twist. This font strikes the perfect balance between tradition and modernity. The letterforms are carefully designed to maintain legibility and clarity, even in the light weight. Each letter retains its distinctive characteristics, allowing your message to be easily understood. You can also enjoy the various features available in this font. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Reline Rosery fits in branding materials, book covers, wedding invitations, or any project that demands a touch of elegance, this font will bring a sense of refinement and beauty. It is particularly well-suited for applications related to luxury, fashion, beauty, and lifestyle. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

A graceful kid if ever you’ve seen one, Cabrito Didone joins the Cabrito family of fonts--a family designed to provide young infants with clear recognition of letter forms. The original letters were released as part of the children’s book about fonts, The Clothes Letters Wear. Now, this latest addition brings a new Didone flavor to the table. But don’t judge the book by its cover. While Didones can be stodgy in the way they deliver a sense of luxury, this stubborn goat of a Didone bucks the stodgy stereotypes with its high-contrast, carefree, flowing fun, taking a more calligraphic direction than most. Cabrito Didone joins structure and handwriting to create a flowing balance of both characteristics. It’s a unique combination of functional and friendly. Its 42 well-designed fonts give you plenty of easy-going, highly readable options to work with as you craft your design. The typeface has unique serifs that give the sense of ink pooling slightly at the points, drawn with a sharp nib. Cabrito Didone supports OpenType features and is packaged with upright obliques, alternates, ligatures, old-fashioned figures, and compact caps. Preview any and all of these features in the interactive PDF manual. The family member font also includes glyphs for 72 languages; over 600 glyphs per font await. Cabrito Didone is an excellent choice for websites as well as flyers and packaging. Like Cabrito, which is currently used by a number of visible brands, Cabrito Didone is also a great option for defining your brand. Grab a taste of the Cabrito Didone flavor--and those of the other Cabrito members: Sans, Semi and Inverto.

Conthey Inline™ is your new retro-display best friend! The one and only, unique IN-AND-OUT typeface with strong personality and outstanding flexibility. This display sans features amazing variable fonts letting you adjust not only width of the letters, but also let you fluently transition from thin inline styles to thin outline ones. This mechanics opens a world full of layering possibilities as well as a great fine-tuning ability. The family consists of 39 OpenType fonts - 18 pure inline/outline styles in 3 widths (Narrow, Condensed, Normal) and 21 styles carefully prepared and tuned for layering. For even greater flexibility 3 variable fonts are included in the set. In addition to flexible width and inline-outline transitioning, this playful typeface features 4 different inline styles to spice up things even more! All styles were meticulously crafted with the highest attention to detail in the letterforms as well as spacing. Conthey Inline is a sibling of Conthey, a display unicase family as well as Lutschine, a versatile modern narrow display typeface. Conthey Inline composes perfectly with its family members, covering a very broad range of design scenarios. All these typefaces are a part of big type system containing also a workhorse sans serifs such as Rothorn and Montreux Grotesk. You will have a lot of success using Conthey Inline for any kind of playful, vintage/retro, organic, friendly and stylized designs. Especially, industries such as food & beverage, travel, hospitality, fashion, healthcare, sports, lifestyle, music, art, entertainment and products for youth are perfect areas to make Conthey Inline shine with all its charm.

Introducing "Master Rumble" - an exquisite font that embodies the timeless elegance of the Victorian era. With its ornate details and refined aesthetics, this font exudes a sense of grandeur and sophistication. "Master Rumble" offers two distinct versions: the regular and expanded. The regular version maintains the classic proportions and delicate details, perfect for creating elegant headlines and body text. The expanded version, on the other hand, provides a more dramatic and impactful look, making it ideal for titles and display purposes. These two variants offer versatility and flexibility to suit different design needs. With an impressive collection of 646 glyphs, "Master Rumble" empowers you to craft captivating typographic compositions. The font boasts an extensive range of alternative characters, allowing you to experiment with different letterforms and create unique combinations. This abundance of options gives you the freedom to customize and tailor the font to perfectly match your creative vision. Enhancing the font's allure, "Master Rumble" comes with an additional 146 ornamental elements. These ornaments beautifully complement the Victorian style, enabling you to adorn your designs with decorative flourishes, frames, and borders. These intricate details add a touch of opulence and bring a sense of refinement to your typographic creations. In conclusion, "Master Rumble" is a font that epitomizes the Victorian elegance, offering a perfect balance between classic charm and contemporary design. With its regular and expanded versions, extensive glyph set, alternative characters, ornamental elements, and multilingual support, this font empowers designers to create captivating and sophisticated typographic designs that leave a lasting impression. Elevate your creative projects and embrace the timeless beauty of "Master Rumble".

Introducing our latest font creation, a harmonious blend of elegance and boldness – Gladysh Elegant Condensed Serif Typeface. This unique font is meticulously crafted to cater to a diverse range of design needs, providing a versatile solution for both modern and classic projects. Key Features: Thin and Bold Styles: Strike the perfect balance between subtlety and prominence with our meticulously designed thin and bold variations. Whether you're crafting a sleek corporate logo or designing a minimalist poster, these styles offer the flexibility to express your creativity. Italic Grace: Elevate your design with the added touch of sophistication. The italic variations of ThinBold introduce a graceful slant, ideal for conveying a sense of movement, emphasis, and a touch of editorial flair. Perfect for fashion, editorial, or any project where a dynamic aesthetic is desired. Versatility in Application: From branding and advertising to web design and print materials, ThinBold Italic Typeface adapts seamlessly to various design contexts. Experiment with different weights and italics to achieve the visual impact you desire. Clean and Readable: Despite its stylish intricacies, ThinBold remains highly legible. Each character is meticulously crafted to ensure clarity and readability, making it an excellent choice for body text as well as headlines. Extensive Character Set: The font includes a comprehensive character set, encompassing a variety of accents and special characters to support multiple languages. This ensures that your design projects can maintain a consistent and professional look across diverse linguistic requirements. Elevate your design projects with the Gladysh Elegant Condensed Serif Typeface – where sophistication meets versatility. Download and incorporate this font into your toolkit for a sleek, contemporary, and dynamic visual identity.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

Inheriting the beauty and style of old type classics from this genre, Jeles is blended with very elegant modern approach featuring soft corners, round slab serifs and tasty ball terminals. Jeles is designed mostly for display use and it is highly recommended to get the whole family if you want to get the best result. It is designed in two styles Condensed and Normal. The Condensed version is developed in two weights each coming with corresponding italics. While the Normal styles are three ranging from Regular, Bold and Black. The total of 7 separate fonts inside the family are quite enough if you look for diversity and flexibility at one place. You could use the uprights for more serious and strong headlines while the Italics work perfectly for more fresh and live subheads. Of course editorial design is only one of the many directions where Jeles family could be used successfully as we all know typefaces with so visible contrast between thin and thick and combined with classic elegance, could be easily used in every design of cosmetic industry, fashion, food, jewelry, etc. Try to design a stylish boutique shop signboard and you will surely discover its beauty and potential. Easy-to-read, it is good for print design, revealing its authentic letterpress-like character as well as perfect for screen use note that the thin strokes and serifs are not that thin to vanish on a low resolution monitor. Professionally designed, they are solid enough yet very elegant and even gentle making Jeles a desired family design of attractive web banners, web sites, apps and e-books.

Ramolina Script is an elegant calligraphy script font that comes with lovely alternates character. a mixture of from copperplate calligraphy with handlettering style. Designed to convey style elegance. Ramolina is attractive like a smooth, elegant, clean, feminine, sensual, glamorous, simple and highly legible typeface. Its classic style is perfect to be applied in any type of formal pieces such invitations, labels, certificate, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, badges etc. Ramolina Script features 400+ glyphs and 200+ alternative characters. including multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, that allows you to mix and match pairs of letters to fit your design. 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. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail "megatype04@gmail.com" Thank you for your purchase & Happy Designing!

Fadista is an eccentric experimental typeface, inspired by the Portuguese fado music and letterings by the artist Stuart Carvalhais (1887–1961), created throughout the 1920ies and 1930ies. A strong and clean presence with a touch of quirky gives the typeface its overall character. Fadista includes various OpenType features that allow tailoring the type to custom needs, encouraging graphical exploration. Fadista is the result of meticulous research, graphic reinterpretation and systematization of the glyph palette, taking into account modern font standards. Balancing between a historic heritage and „hipster“ contemporary looks, Fadista represents a discourse about aesthetics, trends and currentness in graphic design. The stylistic variations of the glyphs in fadista work in an additive fashion, rather than completely altering the look of the typeface. This means that a basic framework of glyphs remains unaltered, while certain subgroups of characters are affected by the style choices. Through this behavior, stylesets in fadista work as a switch for the type of contrast you’d like entwined in the overall look of the typeface. Other unique features include stylistic alternates for specific glyph combinations, ligatures that allow internal character spacing and tiny diacritics that flow within cap height along normal height glyphs. Please note the lowercase characters within Fadista are uppercase alternates. Math operators are fully supported, as well as a wide range of symbols and punctuation. Supported Languages: Albanian, Danish, Dutch, English, Finnish, French, German, Icelandic, Italian, Malagasy, Norwegian, Portuguese, Romansh, Spanish, Swedish and Turkish. For further language support don‘t hesitate to get in touch. Fadista was awarded the Art Directors Club Bronze in the junior competition 2014 and the DDC Award 2014 in the category "Future“.

Are you tired of weak, puny fonts that lack the power and energy to really make a statement? Look no further than Misadventures, the font that’s all brawn and no nonsense. Whether you’re designing a fashion headline or any other type of message that needs to be heard loud and clear, Misadventures is the font for you. It’s action-packed, high-octane, and ready to inject some serious adrenaline into your designs. Don’t settle for weak, feeble fonts that leave your message feeling lackluster and uninspired. With Misadventures, you’ll have the power and energy you need to create designs that are truly unforgettable. Get your hands on Misadventures today and see just how energetic your designs can be! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Inspired by the new color of the season, The Grumpy Lime is my take on a super playful, 100% handwritten font! It has over 75 ligatures and alternate letters so you can play with it and get the look you need. And whether you have a client that needs a new quote design, or a social media post, it’s perfect for you. Check out the photos I have prepared for you to see what you can do with it and happy creating! This font pack also includes full language support, punctuation, numerals and detailed instructions how to use alternate letters most of the apps on your computer, as well as in Canva. And it also comes in three versions: vintage, solid & outline! I invite you to check out the preview images, and I hope you will be immersed in my vision for this creative typeface that, I am sure, will work for all kinds of interesting projects you might be working on this year. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Grumpy Lime - Playful Ligature Font: TheGrumpyLime - Solid Playful Handwritten Font with over 75 Ligatures & Alternates TheGrumpyLime-Vintage - Vintage Playful Handwritten Font with over 75 Ligatures & Alternates TheGrumpyLime-Outline - Outline Playful Handwritten Font with over 75 Ligatures & Alternates Over 75 Ligatures & Alternates Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Introducing Gotti. Where Timeless Precision Meets Seventies Flair We are thrilled to unveil our latest creation, Gotti font family, born and meticulously crafted during an inspiring journey to Goteborg. This typeface seamlessly fuses the Bauhaus essence with the spirited vibes of the seventies, resulting in a font that's not just a visual treat but a design experience. Gotti draws its creative fuel from the geometric elegance of the Bauhaus movement, prioritising functional simplicity and razor-sharp lines. However, its design journey doesn't end there. Imbued with the unmistakable energy of the Seventies, Gotti emerges as a font family that encapsulates both nostalgic charm and contemporary boldness. At its core, Gotti boasts a geometric skeleton that has been intricately designed to redefine precision. Ranging from light to black, the weight variations offer a broad spectrum of expressive possibilities. Gotti is perfect for display use, advertising, and branding, it transforms your creative vision into a visual masterpiece. Stand out with confidence, whether it's a captivating logo, a compelling headline, or an unforgettable advertisement. Elevate your brand identity with Gotti. It brings strategic branding to life, communicating sophistication and modernity. Your advertising materials become memorable works of art, leaving a lasting impression on your audience. Curious about the magic Gotti can bring to your designs? Our showcase reveals real-world applications, demonstrating its adaptability and aesthetic appeal. See for yourself how this font family turns ordinary designs into extraordinary visual experiences. Follow us on social media for updates, inspiration, and a glimpse behind the scenes. Have questions or just want to share your thoughts? We're here for you!

Follow us to the future. It is in your face. It is fashionable. It is friendly. It is fly, far-out, funkadelic, fun. But first of all, the future is fast and full. Named after the most famous Canadian rock group of all, Rush is a typeface that wants your full attention. It is square like a bodybuilder's jaw, round like a football player's muscles, and tight like an abdomen after a thousand sit-ups. It gives you plenty of attitude. It commands your respect and lets you know that if you've been thinking of giving up on macho in this brave new world, think again. It tells you that everything has an underlying engine, that every engine hums clockwise, that adrenaline is the name of the game, and if you don't like it, get your sensitive self back to your silly scripts. Rush comes in two fully interchangeable variations: Rush One and Rush Two. While Rush Two is the somewhat predictable, determined pedal-to-the-metal contemporary brute, Rush One is sharper, smarter and more sophisticated in the way it affects a design. While Rush Two's message is a straight-forward one of strength and speed belonging in an overall design, Rush One calls attention to itself first then turns on the wonder about everything surrounding it. Expertly mixing shapes from both fonts in the same word or line can achieve just that perfect form a design needs for its message. Such flexibility and distinction in character design and degree of message relay makes Rush the perfect font package for any design that has anything to do with speed, strength, and proud pursuit of adrenaline.

Unlike the modest fonts in your menu content with discreetly imparting information, Carnival is conspicuous by design. Deliberately engineered to attract eyeballs, the typeface’s unmistakable silhouette produces a dramatic visual texture that stands out in print, on screen, or in any environment where your message demands to be noticed. The steady yet vibrant rhythm created by its letterforms also makes Carnival ideal for fashioning alphabet patterns and graphic devices. Flaunting a lean slender body anchored by stout stroke endings, Carnival turns conventional typographic thinking on its head by inverting the relative thickness of its stems and serifs. This reverse-contrast approach stretches all the way back to the roots of modern advertising, when similar types became the favorite for posters, packaging, and loads of consumer products during the 1800s. The striking style prevailed well into the next century, as Harold Horman, co-founder of New York City-based Photo-Lettering. Inc., modernized a version for the company’s popular film-typesetting service in the early 1940s. Digitized and expanded by Dan Reynolds in 2013, Carnival had previously been used exclusively for House Industries projects. Now you can get in on the action, and use this stunning slice of type history anytime you want your work to turn heads. SUGGESTED USES Carnival’s unique character commands attention, making it the perfect voice for promotional pieces, editorial design, labels, packaging, posters, and any other application that needs to strike the right tone. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs.