Carve is an African font that was inspired by fonts such as Othello and Neuland designed in the mid-1920s. Rather than attempting to re-create these fonts in a digital form as so many others have done, I have tried to capture the “spirit” of the period and emphasize the “woodcarving” style of the font, while simultaneously giving it a contemporary feel. As a result the characters differ markedly any of the original styles and have much less of an “Art Deco” look to them. To further modernize Carve, I have included all the characters required for a full character set (lower case, as well as all punctuation, numerals, diacritics, special characters etc). The result is a thoroughly modern re-interpretation. The numbers (0 to 9) bear no relation to any originals but, I believe, are fully in keeping with the upper and lower alphabetic characters of my font. Carve comes in two styles: --Regular: contemporary, angular African style --Incised: exaggerating the chunky, hand-carved "woodcut" effect. The "in-line" effect has been hand-crafted to avoid the mechanical effect of computer-generated inline effects.

I regard Sabio as an evolutionary face. By this I mean that it merges elements of script and Roman design into one elegant whole. The design was 'evolved' somewhere between these two classic approaches. The resulting family of faces makes an excellent display family, but is also clear and legible at small sizes and can be used as a text face with a distinctive flair. Sabio is a wonderfully flexible face that can sit happily alongside artwork that owes its inspiration to any era from the Art Deco onwards. The regular form is gently and subtly oblique, and the glyphs have a slight hint of swash about them. Alternate and perpendicular forms are also offered. The regular, alternate and perpendicular forms are all in turn offered in regular, and bold weights as well as in a condensed form. All in all Sabio is a humanist face with which almost anything can be done offering flair and elegance for almost any project. Whether it's a distinctive way of setting paragraph text, or poster work that's eye catching yet flowing and clearly legible, Sabio offers the answer.

UTOPIAN is a color font family based on primary colors and pure geometric shapes, influenced by Bauhaus, DeStijl and Art Deco. Its pure shapes and basic colors are inspired by the beauty of simplicity of modular order and grid, creating a perfect environment where all these elements live in a perfect color harmony. In the other hand, DYSTOPIAN, the black and white family, represents a close sibling in appearance and structure, that carries an opposite meaning, with a darker look and feel. Both typefaces are, somehow, a reflection of the divided views and posible outcomes that the future times ahead yield before us. Package: Utopian/Dystopian comes in file with a pre-defined color palette. You can always change the colors converting the text to outlines. Technical info to use: The package contains a normal TTF/OTF set of fonts in Black and White and a colorfont in SVG-TTF format. To be able to use the color file you need to have installed Adobe Photoshop CC2017 or Adobe Illustrator CC2018. Not all the browsers support color fonts so please be sure to use them as graphics.

Hastings was inspired by my appreciation for old fashioned English murder mysteries set in the early part of the twentieth century. No one seems to capture the ambience of the roaring twenties or thirties better than the Brits. Everything from the clothing, to the cars, to the telephones, down to the smallest accessories like the pens, all seem to have been appropriated from the local museum. I'm hopeful that this typeface also embodies similar feelings with its sleek and streamlined Art Deco features. Hastings has a glyph count of 389 and supports the following languages; Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Connected Neon is a mesmerizing display font that encapsulates the vibrant glow of neon lights, fusing it with a unique twist of connected letterforms. With its bold and uppercases design, this typeface commands attention, drawing the viewer into a captivating visual experience. The defining feature of Connected Neon lies in its elegant lines that seamlessly connect each letter, creating a unified and harmonious composition. These delicate lines flow effortlessly from one character to the next, accentuating the connectivity between them. As a result, the letters appear to dance with an electric energy, forming an enchanting tapestry of illuminated artistry. The neon-inspired style of Connected Neon is a nod to the retro-futuristic aesthetics of the 80s, reminiscent of the vibrant signage that adorned the bustling city streets. The font's luminous glow radiates with an otherworldly aura, casting a vivid hue that is both nostalgic and contemporary, evoking a sense of vibrant energy and modernity. Each character in Connected Neon has been meticulously crafted to strike the perfect balance between legibility and decorative flair. The bold letterforms boast a sleek, sans-serif design, ensuring clarity even in the midst of the dynamic interplay of lines. The seamless connections between letters create a sense of continuity and fluidity, enhancing the visual appeal without compromising readability. Enjoy the various features available in this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Connected Neon is ideal for a range of creative projects that demand a touch of charismatic flair. From eye-catching headlines on posters and advertisements to striking branding elements, this font adds a touch of electrifying allure to any design. Whether you're designing a captivating logo, crafting an attention-grabbing title, or bringing a digital artwork to life, Connected Neon will effortlessly infuse your creations with a radiant glow and a sense of interconnectedness. 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.

TT Hazelnuts useful links: Specimen PDF | Graphic presentation | Customization options About TT Hazelnuts: TT Hazelnuts is a display sans-serif font family containing a set of elegant and delicate decorative elements. Initially the family was designed for highly specialized areas, but we've decided to extend the number of typefaces and to make the family more universal. Despite its geometric essence, TT Hazelnuts reflects a touch of human hand—you can take a calligraphic tool and, by turning it, draw pretty much the whole font. TT Hazelnuts font family is perfect for small text arrays, for instance, for fashion or advertising industries, and will also fit perfectly into layout of longer and more complex typographic systems thanks to a large variety of font weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Black, Heavy) and its true italics. It has already become a good tradition to include broad support of OT features into our new fonts. TT Hazelnuts is not an exception, it uses a large number of useful features: ordn, sinf, sups, numr, dnom, tnum, onum, frac, case. FOLLOW US: Instagram | Facebook | Website TT Hazelnuts language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

Montarsi is a typeface designed by Jeremy Dooley, inspired by Arabic calligraphy and contemporary design trends. The letters are fluid and graceful, inspired by the curves and swirls of Arabic script. Montarsi is a bold, contemporary calligraphic face with broad strokes and high contrast. It has a variety of styles and weights to give you an extensive range of design options. This font family, which includes eight weights, is ideal for producing brief texts for editorial, fashion, branding, magazine, television, window displays, and other media applications. Small caps, old-style figures, and width variations are also included. It's ideal for writing brief sentences because of the increased x-height. Montarsi is a classic spirit reinvented in a modern language, influenced by the delicate curves of letters and the way ink glides across paper. We especially thank Lucas Azevedo and ikern.

Majora is a slab serif typeface which derives its name from a Portuguese historical toy manufacturer. The font comes in 8 styles, ranging from a delicate Thin to a robust Black, with matching italics and an upright version of stencil fonts, resulting in a total of 24 weights. Majora is well-suited to a wide range of design projects which include packaging, editorial design, screen use, etc. Its humanistic features and moderate contrast between thick and thin strokes make it also suitable for long block of texts while having a high degree of legibility. The font includes a set of alternate glyphs which help give your compositions a different and unique look. The Stencil version was specially designed for use in signage, packaging, titles and headings. Majora contains a set of 520 characters that support over 200 Latin-based languages.

Rationality Grateful is an elegant handwritten font that exudes sophistication and charm. Its clean and modern design is perfect for a wide range of design projects, from wedding invitations to branding materials. This font features delicate and flowing strokes, which add a touch of femininity and grace to any design. The letters are carefully crafted to ensure readability and legibility, even in small sizes. With its elegant curves and swooping lines, Rationality Grateful is ideal for use in headings, titles, and other large text blocks. It’s also great for adding a personal touch to handwritten notes, quotes, and social media posts. Overall, Rationality Grateful is a versatile and timeless font that will elevate any design project and leave a lasting impression on your audience. If you have any questions please don’t hesitate to contact me Thank you best regards, Fikryal Studio

Sinete, besides being and elegant and charming typeface, is also an extraordinary monogram set. You can create any 2 letter combination with its more than 350 handmade interlocking monograms. There is also the possibility of creating stylish 3 letter combinations. But that is not all, Sinete provides you with 30+ numeral ligatures and a variety of frames to combine with the monograms. This font also gives you the ability to create many text textures with its 4 case design approach (Uppercase, Small Caps, cantered Small Caps and “Opulent” Case). This gives you plenty of versatility. Make sure you play with the 9 Stylistic Sets provided. Sinete is all about creating wonderful words. Perfect for wedding invitations and other events as well as for refined logos and branding. This is also a great typeface for titles due to its delicate design and captivating look.

Inspired by the Roman lettershapes that Asensio y Mejorada drew in 1780, Frontis is a text typeface that takes this reference just as a starting point. The delicate appearance of Neoclassical fonts becomes confidence in Frontis. The characters have a solid skeleton, and the text looks classy in the condensed half of the family. A style that shines especially at display sizes. A collection of vegetal motifs and some stylistic uppercase ligatures complete the character set. These extra shapes serve to frame and bring together all the weights and styles in the type family. The lapidary ligatures and the ornaments underline the 18th-century roots of the design. There is a connection between Frontis and those classic letters that were once engraved on stone. And yet, the design is daring enough to make it a perfect choice for contemporary use.

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all it’s strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals, provide a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics, in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.

Kevin Simpson was five years old when the stylized "E" of the Electrolux vacuum cleaner logo caught his eye. This is his earliest recollection of an interest that ultimately became an obsession. Type remains his major preoccupation, and he admits to attempting to work a good typeface design into any project where he can get away with it. Aitos was inspired by a metal sculpture Simpson saw while driving through the French countryside. "The statue was very strong. It was heavily weathered and had obviously been there for some time, yet it also seemed very delicate and light." Aitos, like the statue, is a rugged design. At first glance, it is chunky and bold, perhaps a little jarring. If you look again, however, you'll see it has refined qualities. Aitos commands attention - yet is still affable.

Cresci Exemplar™ was originally designed by Giovanni Francesco Cresci, the 16th century Milanese writing master. These letters from his book Essemplare are some of the most elegant capitalis monumentalis ever produced and served as a model for later inscriptions on statues and monuments all throughout Italy. Painstakingly made from multiple high-resolution references, Cresci Exemplar™ Pro, accurately matches the master’s original lines. It can be used at large sizes without sacrificing elegance. Cresci’s attention to detail and delicate curves allow his titling capitals to stand out and elevate text. The numbers of Cresci Exemplar™ Pro have been professionally designed to match and complement the letterforms of Cresci’s original alphabet. Symbols have either been faithfully transcribed or thoughtfully designed both to be pleasing to today’s reader and congruent with classic lines. Released for the 450th anniversary of Cresci’s Il Perfetto Scrittore.

Flashgude is a lovely and delicate script font that exudes elegance and class. This font was particularly crafted for those who need a beautiful and refreshing look to their designs. Flashgude, A new fresh & modern calligraphy script with a deluxe calligraphy style. The impression is classy, yet modern, making Flashgude still catchy for all your creativity. A charming typeface and So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more! Files Include : Basic Latin A-Z and a-z Numbers Symbols PUA Encode Multilanguage Support The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. Thanks and have a wonderful day, If you have any questions, please get in touch with us Don't forget to check out our other products.

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all its strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals, provide a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics, in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.

The Nostalgic Remain is a chic modern and timeless serif font that evokes a sense of nostalgia and old-world charm. Its elegant and refined letterforms are perfect for creating designs that require a touch of sophistication and tradition. This font is ideal for vintage logos, book covers, editorial designs, and any project that needs a touch of old-school glamour. With its graceful curves and delicate serifs, Nostalgic Remain is a versatile font that can be used for both digital and print projects. Its timeless appeal makes it a great choice for designers who want to create a sense of heritage and history in their designs. Whether you’re designing for a fashion brand, a restaurant, or a publishing house, Nostalgic Remain is a font that will add a touch of class and elegance to your work.

Mortissimo – A Beauty Serif Typeface Mortissimo, a captivating beauty serif typeface, exudes timeless elegance and sophistication. With gracefully elongated serifs and finely crafted letterforms, Mortissimo strikes a harmonious balance between classic aesthetics and contemporary design. Its delicate strokes and subtle curves convey a sense of refinement, making it an ideal choice for projects that demand a touch of grace and charm. Whether used in print or digital media, Mortissimo’s intricate details and graceful proportions contribute to a distinct visual appeal, capturing the essence of beauty and timelessness in typography. Mortissimo is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

This versatile font family comprises 10 distinct weights, ranging from the delicate Thin to the bold and distinctive Ultra Heavy. What makes Deuterium special is its approach to the heavy styles. Balancing geometric principles with the challenges of extreme weight, Deuterium manages to preserve the geometric character even when the stems expand to extraordinary widths and the apertures narrow to the size of a dot. In the world of type design, geometric sans-serif fonts are known for their precision and adherence to symmetry. Deuterium deviates from this norm while keeping its geometric essence — it is a thoughtful reinterpretation of the classic style. Whether you’re designing for branding, headlines, or text, Deuterium is a versatile tool that adds a modern touch to your projects. It explores geometry in unconventional heavy styles, making your designs stand out with a subtle yet distinct geometric charm.

Alergia Grotesk was made as a hybrid between a classical geometric grotesque and a linear antiqua. This typeface is characterised by a lot of details, which gives it a strong character. Unpredictable cuts in a letters “a” and “s”, or a double “g” in combination with a delicate contrast, makes Alergia Grotesk a good choice for many purposes from headlines to short flowing texts. A big range of width varieties allows to versatile use and can give a nice effect while mixing extreme varieties with each other in one project. The family consists of 10 weights, 3 widths and set of italics – together 60 styles. The whole family has a comprehensive set of characters. In addition to the Latin letters, Alergia Grotesk also has a full set of characters for Vietnamese, extended Cyrillic (with Abkhasian) and Greek.

Consta Serif is a seven-weight typeface that wishes to express a tribute to the gracious and delicate forms of the human body. Consta is a standout display font that is a mode to Contrast Serif typography in the present day. Its elaborate curves and unique shapes make it perfect for headings, logos & wedding invitations. Consta is all class so if you want a stylish font that is guaranteed to draw the eye, then this is it! All seven weights (Extralight, Light, Regular, Medium, Semibold, Bold, Extra Bold) contain character sets that include uppercase, lowercase, numerals, diacritics, punctuation, ligatures, alternates, and symbols. Furthermore, this Human Grade Type supports more than 89 languages derived from Latin, namely Western, Central, and South-Eastern European languages, making it a perfect fit to be used either in titles or other typographic compositions.

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all its strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals provides a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central European characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

TT Mussels useful links: Specimen | Graphic presentation | Customization options About TT Mussels: The TT Mussels font family is the successor of such popular fonts as Bender and TT Squares. At the same time, TT Mussels has a number of fundamental differences that make it a unique font family that stands out from other octagonal typefaces. When designing TT Mussels, we paid great attention to the possibility of imposing large arrays of text, and we can responsibly state that TT Mussels is a rare type of technological text fonts. To go along with the rest, we've created a stencil version of the typeface, in which the location of the incisions changes according to their thickness. In total, the TT Mussels font family consists of 36 faces, which include among other things stylistic alternatives, ligatures, and also implements a broad support for OpenType features: case, frac, ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. Dynamic contrast is widely implemented in TT Mussels. It is most noticeable in the Black typeface, where the ratio of the thickness of the vertical strokes to the horizontal strokes is approximately two to one. For the Thin typeface, the thickness of the vertical strokes is already consistent with the thickness of the horizontal strokes. You can also find other signs of respect for traditional text fonts in the TT Mussels design, such as the trace of pen movement which is historically typical for antiquas. For example, in the letter M from the Black face, we can first see a thin stroke, then a thick diagonal stroke followed by a thin diagonal stroke, and a finishing bold vertical stroke. As in the case of dynamic contrast, this effect gradually disappears when approaching thin faces. In thick faces, in places such as the “armpits” of the letters MN? or the junctions of the diagonals of WVvw, there are visual compensators that brighten the bold typefaces. As the thickness of typefaces moves from thick to thin, the dimensions and conceptual values of compensators change, and in thin typefaces they completely disappear. TT Mussels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Gazzetta is a condensed font family with a display character and neo-grotesque nature, friendly and energetic. It exhibits softened features and curves, very sharp joins between some strokes, and a slight reverse contrast in its thicker weight. Characteristics that give it a lot of personality and display capacity.The family is made up of 8 weight variables and their respective slanted versions, with substitutions in some glyphs that seek to maintain an italic flavor. It has a repertoire of OpenType features, including Stylistic Alternates, Case Sensitive Forms and Old Style Figures. In addition to decorative resources such as circled numbers, arrows and quotation marks. Its aesthetic and technical attributes can be used in the design of book covers, newspapers, magazines, posters, large format materials, websites and apps.

Morshine is a typeface which is inspired by vintage lettering sign and art. While this font has a victorian touch, it still looks bold and solid. Very suitable for for headline, logotype, apparel, invitation, branding, packaging, advertising etc with old school / vintage theme. This typeface looks great combined with decorative ornaments. It comes in uppercase, lowercase, punctuations, symbols & numerals, stylistic set alternate, ligatures, etc also support multilingual and already PUA encoded. Features : uppercase & lowercase numbers and punctuation multilingual alternates and ligatures swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

Neo-grotesque Sans Serif mixed with the classical handwritten Script in slanted geometric shapes - that’s the way Mixa was born. Those two faces of the new font family makes it as much as unique and recognizable. When you’re using the Capitals only nobody will suspect that there is script hidden in the lowercase. That’s why all eight weights can be combined perfectly with wide list of classical Sans Serif, Slab Serif and Serif typefaces. The font offers wide range of ligatures to ensure smooth readability and beautiful letter combinations. The decorative swashes in some of the Capitals presented as a stylistic sets give unique touch in any design. Mixa has it’s own style and personality, but without lacking of legibility.

Septhia is an elegant calligraphy luxury font that comes with a very beautiful character change, a kind of classic decorative script with a modern touch, designed with high detail to present an elegant style, which has 6 types of fonts. Septhia is attractive because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, thanks to its many extravagant letter relationships. I also offer a decent number of stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertising purposes. and much more. .. Thanks & Happy Designing!

Sandokan is a brush script font with a character and morphology that nears Oriental calligraphy, Art Nouveau typefaces, psychedelic “flower power” fonts from the Sixties and Tuscan poster fonts from the 19th century. Its main features are the high contrast between thick and thin strokes and the extreme slanted angle in the typewriter imprints, creating inverse shadowing. The letter set is further accentuated by exotic decorative details and the often unusual connectors between small letters. The typeface supports all languages using the universal Latin character set. Sandokan is a slightly sweetened cultural cocktail. As such it looks best on everything that needs to come across as exotic and rather solid but unmistakeably eccentric - such as labels and packaging on exotic delicacies or circus posters.

“Innovation” best describes Naghi Naghashian’s new Decora Two font. It is a “Liaison amoureuse” between the Sans Serif typeface and English manuscript style. Decora Two is the second of a series of typeface that enables graphic arts professionals the flexibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is a boon for manipulations of both vector-based and pixel-based graphic programs. Typographers worldwide, whose alphabets derive from the Roman one, depend on such innovations in order to meet increased demands of modern communication. This typeface enriches the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide!

We, GalaStudio (Lilia & Galina) represent the SlimOne BESTIARY font from our MELTING FONTS collection. It is a decorative style version of the SlimOne font family, which we designed by playing with glyphs: we converted them into funny animals and thus created a "zoo". One can use the BESTIARY font for children's books and notebooks as well as for all kinds of funky advertising, social media, greeting cards and comics. INCLUDED: GS_SlimOne_Bestiary.otf GS_SlimOne_Bestiary.ttf Numbers, additional glyphs & basic punctuation are included. PERFECT FOR: using in books titles, textbooks, notebooks, different brochures and advertising, especially for kids, home-ware design, packaging design; magazines, posters and flyers titles; logos design, books design, fashion design, slogans etc. :) Multilingual support included for the languages based on Latin alphabet.

Marilatte Script is a new fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more!! Marilatte Script The comes with 883 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code). So that all alternative characters can be easily accessed by craftsmen or designers. Uppercase & lowercase International signature & symbol Punctuation Support & PUA number Unicode Style Style Alternative Style Style Range 1-26 Contextual Character Variations.

Restrain is a Modern serif typeface Unique alternate , multilingual support with perfect kerning. its modern and minimal treatment, it makes a great starting point as well as an enhancement for your design. It is perfect for cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, and much more. etc. Restrain Features: · Uppercase & Lowercase · Alternates & Ligatures · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded If you want the SVG version please contact me. While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products.

This 1538 Schwabacher was based on a font used by Georg Rhau in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus. The original font has a relatively complete set of characters including “long s”, but also the special german types like k, fl or ‰, ˆ, ¸.... A few omissions were remedied, and accented letters were added. A render sheet, enclosed with font files, help to identify them on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... Although this font remains clear and easy to read from 8 or 9 points on screen, it is clearly designed for print works.