Ornaments family with four different sets plus a decorative capitals font from the rare, valuable and amazing Allerlei Zierat book from Schelter & Gieseck (1902). A research and free interpretation by Intellecta Design. This encyclopedic specimen book of the Leipzig, Germany type foundry and printing supply house J.G. Schelter & Giesecke features, as the title indicates, all kinds of decoration for supplying printing of every type. On the title page, the firm boasts winning grand prize in 1900 in Paris (presumably at the Exposition Universelle). It is hard to do justice in a short description to the variety of styles (traditional, Jugenstil, etc.) and categories (certificates, letterheads, borders, ornaments, exotic motifs, flowers, animals, silhouettes, menus, greeting cards, vignettes humorous and otherwise, images of bicyclists, occupational symbols, portraits, Classical figures, religious art, heraldry, ships, trains, athletes, etc., etc.) offered in this volume. Some of the examples are printed in color, most are in black-and-white. The Jugenstil cover of this copy shows minor wear and soiling. The plate of “Gust. Carlsson & Co., Stockholm” is attached to the front pastedown. A small fraction of pages show minor soiling, a pencil notation or a short closed tear. Two of the fold-outs at the back have a little more damage-one is missing a 1x2 inch piece along the margin, the other has a 3-inch closed tear and an edge which is crumpled. A rare specimen from the Intellecta rare books library.

Originally drawn in 1985, Jovica Veljović had intended to add a few kerning pairs and make some minor refinements to the letterforms. However, his work lead him to take a fresh look at the family. Veljović recalls, … I soon realized that some characters could benefit by more refined shapes and proportions. By the time I was done, I had worked on just about every character in the original design." In fact the end result is two systems: one optimized for extended texts; the other for display settings. The original elegance of the design is not lost, but the new design brings with it letterforms that are altogether more harmonious and balanced. The roman is dynamic and spirited, just oozing character. The italic by contrast is a little more restrained, but nonetheless an elegant and fitting accompaniment. The text-optimized fonts come with a generous x-height, and slightly less contrast; though its marginally wider proportions let in the light, making it very legible even at small sizes. ITC New Esprit ® is a versatile family, brought to you in four weights from regular to black. OpenType features like small caps, alternates, and a broad character set make this a welcome addition to everyone's font library. Whether you want elegant and legible text, or dynamic and personable headlines, then you'll want to click through to see more of ITC New Esprit. "

Welcome to the world of typography where every letter counts! Today we’d like to introduce you to our charming small-cap typeface—Kelvingrove. Inspired by the elegant Copperplate style, Kelvingrove is designed to add a touch of sophistication to any project. What makes this typeface truly special is its legibility, thanks to its eye-catching slab serif design. One of the unique features of Kelvingrove is the alternate K, Q, R, and small ampersand that can be accessed via OpenType stylistic alternates in applications that support them. This allows for endless creative possibilities and adds an element of personalization to your designs. Not only is this font aesthetically pleasing, but it’s also incredibly practical. The numerals are properly balanced for use with both caps and small caps, making it an excellent choice for headings, captions, and body text. When you need a typeface that exudes elegance and solemnity, but with a more distinct, captivating flavor, Kelvingrove is the way to go. With its unique blend of style and legibility, your designs are sure to stand out. In summary, Kelvingrove is the perfect choice for designers who want to add a touch of sophistication to their work without sacrificing legibility. Try it out for yourself and see the difference it makes! 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.

A typeface that celebrates marching to the beat of your own drum. Snare is a jazzy little display type that presents like a stencil but behaves in its own way.Featuring angled section breaks and variable heights, Snare keeps each character’s footprint steady as as its heights change, revealing unique crossbars, periscoping capitals and deep-sinking descenders. Because each character follows its own rules, the more each word grows, the more it shows the beautiful rhythm of variety. Or stretch individual characters to shape the contours of your words. Beyond just being playful, fun to dress in colors, and delightfully useful for tight spaces,Snare’s lanky verticals and nervous energy reflect the time it was created. In this second pandemic spring, Snare brings up the drumroll-expectant heartbeat of our uncertainty, and the wish that when we can all meet again, our newfound weirdnesses will find a home in the world. The Snare font family includes one uppercase alphabet with two lowercase variants and comes in ten standard weights-which-are-just-really-heights (.otf) and as a variable type(.ttf) for designers using compatible platforms. Snare was designed by Alexander Wright and In-House International and developed byRodrigo Fuenzalida at FragType. In-House International’s foundry was launched in the summer of 2020 to offer bold, experimental, display typefaces that tell a story. Our previous releases have been featured on Design Milk, DesignBoom, Slanted and all sorts of exciting places.

Carefully considered letters written long-hand, sealed in an envelope and sent across continents were once the only connection for distant friends and lovers. Dear Sarah is a type that evokes the emotion of those handwritten messages. Using alternates, ligatures and a complex system for randomization and natural connected characters, Dear Sarah seeks to push the boundaries of digital type. The guiding question that drove the design of Dear Sarah was whether it was possible to create a natural looking script that worked well in running text. Hand-written types often work for two or three words, but as soon you you look at them in a paragraph, their unnatural textures make them feel contrived. As one of the first serious types to explore OpenType for a connected script, Dear Sarah uses a unique system to create natural connections. Often script types rely on one connecting point to make sure that all their characters fit together properly. Characters that naturally connect much higher, such as the ‘o’ or ‘v’ are distorted to connect at the same point as an ‘a’ or a ‘c’. Dear Sarah uses multiple sets of lower-case characters to connect at multiple points, creating a much more natural looking script. OpenType is also used to create variety, by using randomization techniques to insert disconnected characters as well as alternates, ligatures, swashes and ink blots to create a natural rhythm across multiple lines.

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Neufile Grotesk has its roots in some of the earliest commercially available sans-serif typefaces. This highly legible sans-serif design is well-suited for many display and text-based typographic uses. Users can apply the fonts effortlessly to a large number of messages and media, from advertising to book design. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s eight static OpenType font files instead. Those weights run from Extralight through Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Neufile Grotesk Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the eight static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Whichever format you choose, the Neufile Grotesk fonts include several sophisticated OpenType features. In addition to standard ligatures, there are a few discretionary ligatures and a stylistic set replacing “a”, “g”, and “R” with geometric-sans-style forms. Other features include numeral variants – there are proportional and tabular versions of lining figures and oldstyle figures – as well as fractions and numbers in circles. The fonts have arrows and a feature for setting case-sensitive forms, too.

Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. This type design was the central part of the project for a wayfinding and information system to guide pilgrims and tourists through Rome. Capitolium also continues Rome’s almost uninterrupted two-thousand-year-old tradition of public lettering . It is a modern typeface for the twenty-first century and strongly related to the traditions of Rome. Soon after the completion of this project Unger began contemplating the possibility of bringing the atmosphere of this design to newspapers. Though Capitolium works well in most modern production processes and also on screens, it is too fragile for newsprint. For newspapers sturdier shapes were required as well as more characters to a line of text, and Capitolium News has a bigger x-height than Capitolium. Capitolium News is a thoroughly modern newsface, with classic letterforms linked to a strong tradition. Capitolium News for running text comes in the variations regular, italic, semibold, semibold italic, bold and bold italic. As is possible with most of Unger’s type designs, Capitolium News can be condensed and expanded without any harm to the letterforms. The update to this beautiful font family, Capitolium News, includes the addition of over 250 glyphs featuring full Latin A language support, new ligatures, 4 sets of numerals, arbitrary fractions and superiors/inferiors. Furthermore, kerning was added and fine tuned for better performance.

STF Eclectic One is a visual cornucopia of symbols, like the junk drawer in your kitchen. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. As one of the first dingbat fonts available on the web, it gain popularity after its design in the early 1990s. With over 150 characters in the complete set, you'll find yourself using Eclectic One almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcOne features complete hour, quarter, and half-hour notations in an analog clock design glyph, recycled/recyclable symbols, a registration mark, a toaster, globes, sideways diamond arrows, spaceships, stoplights, the "running man," several atomic references, da buzz saw, target icons, the unusual smiley face floating in a ball (with a drop shadow, no less!), and the fish skeleton which complements the fallout shelter symbol, and more. Make your own juxtapositions! One reviewer proclaims "for whatever you do, Eclectic One is an excellent dingbat source." Available in Mac and PC formats. License it today!

The Richie™ typeface grew out of a lettering experiment inspired by the work of Czech type designer Oldrich Menhart (1897-1962). Menhart’s typefaces were primarily text designs with a strong personal calligraphic influence. Monotype Studio designer, Jim Ford, wondered what a display typeface from Menhart might look like, and began drawing bold script characters with a broad-tipped chisel marker. “It was a familiar but laborious exercise,” explains Ford, “I tried to achieve an authentic – yet controlled – randomness that would serve as the foundation of a typeface.” Ford first drew a large suite of characters using the marker. All the drawings were then carefully adjusted, and scanned. Ford then pieced together a typeface from the best versions of letters, and refined those further. The result is a rugged, somewhat eccentric and playful script built on an obvious hand-drawn foundation. In a world of smooth scripts, the Richie design is heavy, chunky and rough. Its hand-made feel and vigorous rhythm put the power of raw brush lettering into the typographer’s hands. OpenType® fonts of Richie include standard, contextual and discretionary ligatures, in addition to contextual and stylistic alternates, old style, lining and superior figures, plus a large complement of swash characters. The name “Richie”? It grew out of Ford’s original premise for the design. “I wondered what it might it look like if ‘Old Richie’ had designed a heavy display face or script.”

Camper is an original font collection of sixteen display fonts and extras. Camper’s core is a low-contrast connected script with three weights. In addition there are Sans, Serif and Slab fonts. All Camper fonts have a coherent style of solid forms with soft edges. They all play well together but work as themselves too. Camper’s Print is the same family with rugged “printed” edges and print texture. Camper Script is packed with several OpenType features: Contextual Alternates and Standard Ligatures help to maintain smooth flow while typing and they’re normally on. If you need more flashy characters try Swash, Stylistic or Titling Alternates or seek for even more Alternates from the Glyph Palette. Camper Script is PUA encoded and you can access extra characters in most graphic design softwares even without OpenType support. From Discretionary Ligatures you will find several flashier ligatures and a set of Catchwords: Access them by typing “The”, “And” or “With” with Discretionary Ligatures turned on. Camper Extras is a pack of strokes and swashes designed to go with the script. Many strokes can also be directly combined with a letter to make a custom “swash letter”. Check out posters for more inspiration. All Camper’s fonts have a wide language support — even Cyrillic. Camper is a recognizable and sturdy display pack with smooth and friendly outfit. It’s great for any display project from posters to identities and from online to print.

Many times, when a new creative process is starting, it is triggered by an everyday action or item. In this case, the looks of a lady’s watch inspired Michael Herold to create his new typeface LUX. The sight of the chronograph sparked associations of the 1950s in Mr. Herold: While this decade was predominantly dominated by brush and feather scripts, there was also a bloom of strict and modern architecture. This special mix of strength and retro style is exactly what Michael Herold is trying to capture in his LUX. The result is a typeface which is perfectly suitable for use on book covers, posters and claims – thanks to its striking impression. The name LUX, Latin for light, is inspired by the high bright-dark contrast within the individual characters. Oft sind es alltägliche Gegenstände, die das Bestreben eines neuen kreativen Prozesses auslösen. So entspringt auch die Inspiration zur Erschaffung der LUX von Michael Herold dem Anblick einer Damenuhr. Der Chronograph löste bei Herrn Herold Assoziationen zu den 1950er Jahren aus: Während diese Zeit hauptsächlich von Schreibschriften aus Federn und Pinseln beherrscht wurde, nahm auch die streng und modern anmutende Architektur starken Einfluss auf die Epoche. Diese Mischung aus Strenge und 50er Jahre Retro-Stil soll in der LUX zum Ausdruck kommen. Das Ergebnis ist eine Schrift, die sich mit ihrer plakativen Wirkung perfekt für Buchumschläge, Poster und Claims eignet. Namensgebend war der starke hell-dunkel Kontrast innerhalb der Schrift – festgehalten in dem lateinischen Wort für Licht.

Karlo is a super family of several branches, originating in the same lightweight skeleton. The lightweights are based on a pen of an even stroke-width. Inspired by the writings of calligrapher Edward Johnston, the family moves on in two directions in the heavier weights. Johnston demonstrated that the broad nib pen can produce different writing styles. Following this, one heavy weight has a humanistic low stroke contrast (KarloSerifBold and KarloSansBold), and another has a high stroke contrast of vertical axis with references to the 19th century jobbing typefaces (KarloOpen). The latter is inspired by Johnston’s demonstration of the broad nib pen, where he suggested fastening two pencils together. With each pencil representing an edge of the pen, it becomes more evident how the pen works in writing. The friendly informal look makes KarloSans and KarloSerif usable for both running text and for display sizes. KarloOpen, on the other hand, is solely designed for display purpose showing few words at a time. In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities. Check out Pyke which is a great pair for Karlo.

Michiana Pro is my new, hand-crafted connecting script! I've been hand lettering cards and envelopes to my wife and family in this type style for years and decided it was time to make a font based on it. I typically start with a single thin stroke for each letter, then build up the weight of the heavy stroke, so there ends up being a lot of charming variations in terms of style and color. The overall finish is rough, yet friendly. Perfect for invitations, place cards, love notes, and with its large x-height, it sets nicely for text. I grew up running around the dunes and beaches along Lake Michigan in northwest Indiana, and I think the shoreline and dune grass has inspired my aesthetic. Michiana Pro takes the name from a small area along the lake between the Indiana and Michigan state lines. There are a lot of nice, modest homes nestled in the duneland forests. Thinking about what it's like back there, it's like having a bowl of steaming hot comfort food. So I hope Michiana Pro feels that way to you too. Michiana Pro features include: + extended character set for Western European language support + 1,205 glyphs + lowercase beginning and ending swashes + contextual initial and final letterforms + alternates for L, R, Z, f, g, p, t and y + 140+ ligatures + superior and inferior figures for unlimited fractions + ordinals (st, nd, rd, th) + 4 ornamental swashes + available in both OTF and TTF formats

Introducing "Cowboy Wanted" - The Ultimate Western Retro Serif Font! Saddle up and embrace the wild, wild west with Cowboy Wanted, the font that's taking the design world by storm. This font embodies the perfect blend of old-school ruggedness and contemporary flair, making it the hottest ticket in town for all your Western-inspired design needs. Each character in Cowboy Wanted is meticulously crafted to capture the essence of the Old West, from the sweeping serifs to the rugged lines. Whether you're working on a saloon-inspired logo, a rustic poster, or a themed event invitation, Cowboy Wanted adds that authentic Western touch that's so in demand right now. Don't miss your chance to lasso the trendiest Western retro serif font of the moment. With Cowboy Wanted, you'll be the sheriff of style in your design projects, standing out in the crowded frontier of design. Saddle up and make a bold statement with Cowboy Wanted today! Here's what you get: Cowboy Wanted Regular All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

Disclaimer: An unhealthy amount of energy drinks were consumed while creating this product Bring some loud, bright, and nostalgic fun to your designs with the Neo Retro font pack! Create bold, vibrant, 90s-inspired designs in just a few clicks—giving you more time to hang out at the mall, go to a drive-in, kick-ass at the arcade or go make the perfect mix-tape (you get the idea). Here's a run through the font family; Neo Retro Font • A high energy font with clean edges and sharp ends. An all caps font, but with a larger and smaller variation included as upper and lowercase sets. Neo Retro Alt Font • This is a second version of the Neo Retro Font, with a completely new set of upper & lowercase characters drawn in the same style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Neo Retro Icons Font • A set of 36 fun, hand-drawn icons designed to match with the Neo Retro font. Includes doodles, shapes, zig-zags, underline swashes & more. Simply install as a separate font and type any A-Z or a-j letter to generate an icon. Language Support; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Extraordinary impact and visual conspicuousness. Dr Slab is a super 3D serif family for posters, logos and all display. The basic idea is not a brand new. Stacking type system have been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each colors. Dr Slab uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Dr Slab "Base" style is the core of this font family. You can add effects by using the other styles(Rim, Shadow, Ext). Instruction 1. Type your text as you like. 2. Set font-name "Dr Slab" and font-style "Base" 3. Set color for "Base". 4. Duplicate the layer which includes "Base" text. 5. Set font-style and color for new layers. 6. Stacked layers in different font-style and color make the text in 3D. For further detail, https://www.dropbox.com/s/9p9083zv2855bcq/DrSlab.pdf Dr Slab "Base" style can be used solely. Rounded slabs add soft, cute and casual impressions to your design. Spec: OpenType Format (.otf) with over 500 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Moreva is a new casual modern script font. This font describes about girly, feminist, elegant, catchy, dynamic, humanist, easy to use and will bring a good harmony when the letters are connected and paired each other. FEATURES - Support Opentype Features - Support Ligatures - Automatic stylistic alternates am an ar at att bb bl cl ct dd fl el elt em en er et ett ff gg gt hh il im in ir it itt kk ll lt mm nn nt oo ol olt om on or ot ott pp rr ss se sh sk sl so st tt the um un ur utt yl yt Sl Sk St Sh Gl Gh Kl Kh Ch Cl Bl Bh - Uppercase - Lowercase - Numbering and Punctuations - Multilingual Support - Works on PC or Mac USE Moreva works great in any branding, logos, magazines, apparel, wedding designs, social media posts, advertisements, quotes, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste. Enjoy using! Thanks. HIRO.std

Richy unique chic font with any beauty shape and fancy ligature suitable for brand and logo design. Crafted by graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with a classy shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, chic, and certainly unique logos with this font. To make it look more unique, here we prepared some ligatures: ab ah cb ch eb eh ak am ck cm ek em an ap cn cp en ep ar cr er ca ea ss ob oh ub uh ib ih ok om uk um ik im on op un up in ip or ur ir ka at ga Richy-font is also included full set of: uppercase and lowercase letters multilingual support numerals punctuation Wish you enjoy our font. :)

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Introducing Harond font, a bold serif font with a retro touch. Inspired by the dynamic and chubby typography style of the 70s, this font exudes a delightful, playful, yet elegant impression, making it ideal for various design themes, especially in the realm of food-related design. Harond is a display font best suited for larger sizes. Its plump form and tight spacing offer a delightful design experience and captivate attention. It's the perfect choice for use in posters, decals, logos, branding, flyers, promotional materials, motion graphics, packaging, and much more! But that's not all you get with this font. In addition to the standard alphabet, Harond also comes with multilingual support and numerous special characters, making it easier to enhance your designs.

Are you ready to make your branding stand out? Do you dream of creating headings that stand out and inspire creativity, imagination, modernity, and endless fun? Looking for an elegant and stylish font? We've got what you want. Billstone Signatture- A Siganture Font Billstone Signatture is a soft and sweet signature typeface, with characters dancing along the baseline. Designed primarily as a captivating font that has a casual and elegant touch. Can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterheads, signage, labels, news, posters, badges etc. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Stylistic Set Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Introducing Insigma - Modern Decorative Serif Insigma is a bold serif typeface characterized by high contrast and exceptional versatility, exuding elegance and sophistication in any design project. Its subtle vintage nuances add a touch of refined sophistication, making it the perfect choice for headlines, invitations, advertising, and more. With Insigma, designers can create captivating and visually stunning designs that stand out in today's competitive landscape. Its sleek and bold appearance is sure to elevate any project and make a lasting impression on the viewer. FEATURES - Stylistic Alternates - Ligatures - PUA Encoded - Uppercase and Lowercase letters - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks.

Gyst is a neo-humanist sans-serif typeface that artfully blends the principles of Grotesque and Antiqua. With its classic uprights and the serifs in its true italics, Gyst spans the arc from a modern humanistic sans serif to a captivating calligraphic serif. Contrasting strokes and luscious, on the other hand razor-edged terminals reflect a sense of grace, thriving at the intersection of geometric precision and flourishing sophistication. Made for body text as well a s display use. In any situation, you will find the autonomous cursive posture to be a perfect playmate for the upright. Gyst Variable is a TTF Variable Font with a weight axis and a whole lot Alternates and Ligatures. Gyst is also available in four static upright and italic weights.

Cracked Dream is an enchanting and imaginative fantasy display typeface that transports us to a world of otherworldly wonder. With its intricate and mystic letterforms, Cracked Dream evokes the feeling of stepping into a realm where reality blends with the fantastical. The ornate cracks and intricate details on each letter conjure images of ancient spells and hidden secrets, making it a perfect choice for fantasy book covers, magical-themed designs, and mystical event posters. Cracked Dream’s unique design adds a touch of mystique and allure, inviting viewers to explore the depths of their imagination. Whether used for gaming graphics or ethereal illustrations, this typeface effortlessly weaves a sense of enigma and adventure, truly embodying the essence of a captivating fantasy world.