Avaline is a super smart script font that was 100% handmade. Inspired by hand lettering doodles, the font family combines a mischievous spirit and cheerful style. Its playful letterforms come in Light, Regular, Bold and Sketch, and it comes with tons of language support and fun alternatives. Packed with OpenType features, Avaline comes together to make a truly authentic hand script family package. Its imperfect hand-drawn style is utilized by contextual alternatives – giving each character 3 subtle variations as well as special styles that appear automatically based on where they appear in a line of text. Stylistic alternatives offer completely different styles for all capital and some lowercase letters. Swashes provide numerous flourish options for ascending & descending letters as well as characters that start or end text lines. Small caps and titling alternatives provide great secondary text options, converting the script letterforms to more proportional small cap ones. Avaline also comes with a massive set of extras, including catchwords, swashes & flourishes, arrows, borders, line breaks, laurels and frames. Together they make for a truly organic script font bundle. Avaline seriously comes with hundreds of alternative options, to see everything you can do with the family and to learn how to access them, please visit http://tinyurl.com/htwhetr

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Slab is a robust compliment to the FF DIN family. Designed by Antonia Cornelius and Albert-Jan Pool, it offer designers tools to create greater rhythm and design depth. FF DIN Slab’s proportions have been meticulously aligned with its Sans origins, offering the perfect balance between positive and negative space. The serifs are assertive, sturdy and balanced, they are engineered to emphasis a strong horizontal flow through text, a grounded utility and assurance in headlines. The result of this attention to detail is a typeface that harmonizes beautifully with other FF DIN styles. Pushing font technology to its limits, FF DIN Slab is also available as a Variable font. Allowing creatives to design hyper specific variations which thrive in any design space, and even seamlessly animate movement from one state to the next. FF DIN Slab distinctively carries on its parent’s DNA, speaks the same native language — but with a strong peculiar dialect. It expands the DIN family worthily — independent but integrated — and opens totally new possibilities of uses with the whole DIN family.

FF Kievit Serif subtlety melds oldstyle design traits and a 21st century mien into a clean, straightforward suite of typefaces. As part of the FF Kievit super family it helps brands carry their voices effectively and legibly. This includes small text to display sizes, in both print and digital environments, for internal and external audiences. FF Kievit takes inspiration from classic designs like Garamond and Granjon, and is available in seven weights, plus italics. Drawn as a collaboration between Michael Abbink, Paul van der Laan, FF Kievit Serif is a natural extension to the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Slab. FF Kievit Serif stands on its own as a multi-talented and exceptionally legible design. Large counters, a generous x-height and ample apertures ensure that FF Kievit Serif translates well to both hardcopy and interactive environments. FF Kievit Serif is available in carefully defined weights, ranging from Light to Black. The Regular, Book and Bold weights are ideally suited to long form text copy. Ligatures, several suites of numbers and small caps are also available. In addition, FF Kievit Serif benefits from the same extensive language support of the other designs in the family.

The Black Puma typeface was inspired by the rock beats and the honest spirit of today's indie music scene. Just as evolving garage bands', Black Puma’s strength lies in its fresh and brave approach: to playfully experiment and proudly take its imperfections as long as they are needed to stay real and honest. Black Puma's aim is to entertain, while expressing a strong human touch through its handmade and creatively assembled characters. Black Puma's varying rounded and edgy shapes create a vibrating yet coherent visual, which carries a positive, playful atmosphere. Its irregularities and extra bold characters empower Black Puma to have great and touching visual impact, which make it stand out of the mass flow of information delivered in the information society we live today. Black Puma font - with its 370 glyphs - includes all the accented characters of the Latin alphabet, and also comes with a couple of alternate characters (stylistic and contextual) to play around with. And, above all - as mentioned before - it includes its essence: the young spirit. So come, play around and have fun with Black Puma. Use it to create expressive, passionate posters, flyers and art work full of spirit for the awaiting young-minded public. You can find more artwork using Black Puma under the "Gallery" tab above.

Say hello to new serif font, Retro Monkey! Retro Monkey is a display serif font that delivers a classic retro feel with strength and boldness. Characterized by striking bold letters, Retro Monkey exudes elegance and uniqueness in every detail. Its retro-inspired design evokes nostalgia and conveys a strong and charming style. Retro Monkey's lettering proportions are audacious in their clarity and legibility. With bold lines and strong contours, each letter looks tough while retaining the elegance of a retro aesthetic. Consistent letter thickness provides an appealing visual appeal and is easily recognizable. Retro Monkey is suitable for use in various design projects that want a strong retro classic impression. This font makes a perfect choice for headlines, titles, posters, merchandise designs, and more. In any context, Retro Monkey carries an impressive presence, inviting the audience to feel nostalgia for a different era. Here's what you get: Retro Monkey Regular, Italic 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) Thank you!

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

Lipa is the name of the Slovenian national tree 'Linden'. The typeface Lipa Agate by Croatian designer Ermin Međedović, is part of a bigger type collection, comprising various type groups into one coherent system which Ermin developed over the past 10 years. Lipa Agate is the first to be released; a sans serif designed and engineered to be used in the smallest text sizes, best under 10pt, and in very bad printing conditions. It is perfect for phone books, classified ads, directories or any other job requiring economy without jeopardising legibility. To achieve this, Lipa Agate employs a range of tools, such as deep ink-traps, narrow proportions and a tall x-height. Contemporary editorial design requires a high amount of flexibility to respond to various design situations in a consistent fashion. Lipa Agate — with its 3 levels of condensation, 4 weights and 2 sets of different x-heights, 'High' and 'Low', which share the same width — fulfils these requirements wonderfully. That's a total of 24 fonts! To make this clean and honest workhorse face complete, its large character set also includes small caps, arrows, info-numerals and much more.

Behtab is a sans-serif font family designed by Naghi Naghashian in tree weights. Behtab Light, Behtab Regular and Behtab Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Behtab supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Behtab design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Behtab was developed for multiple languages and writing conventions. Behtab Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Gilan is a sans-serif font family designed by Naghi Naghashian in tree weights, Gilan Light, Gilan Medium and Gilan Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Gilan supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Gilan design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Gilan’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Gilan was developed for multiple languages and writing conventions. Jaleh supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Introducing Mufferaw—a font that embodies the simple and endearing nature of the Ottawa Valley design. With its woodsy style, Mufferaw is a font that’s sure to charm and delight you. Its well-defined but expressive contours give it a unique personality that’s hard to resist. Mufferaw comes in two different weights and three widths, along with italics for added versatility. And if you’re looking to add a little extra depth to your design, be sure to check out the outline and 3D variations. Whether you’re designing a poster for a local event, a comic book, or anything in between, Mufferaw is the perfect font to add a touch of warmth and character to your work. So why not give it a try and see for yourself just how charming and uncomplicated this font 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.

Art into type In 2008, Fontsmith were approached by their friend, Jon Scott, to investigate whether a typeface could assume the aesthetic of one artist’s body of work. Jon’s not-for-profit charity, Measure, was organising an event for the artist, Conrad Shawcross, whose giant mechanical installation, entitled Chord, was going on public display in the long-disused Kingsway tram tunnel in Holborn. Chord explores the way we perceive time, as either a line or a cycle. Two enormous machines with dozens of rotating arms and moving in opposite directions, weave rope with almost infinite slowness. An unusual brief Phil Garnham visited Conrad in his Hackney studio to get a feel for his work and ideas. “Conrad is a very clever and philosophical guy. He struggled to see how typeface design had any relevance to him and his art. This was going to be a challenge.” The artist presented the type designer with a pile of rope and a huge diagram of sketches and mathematical workings. “This was, in essence, my brief.” Phil developed three concepts, the simplest of which ticked all the boxes. “The idea of the strokes in the letterforms appearing and ending at peaks or points of origin fitted perfectly with Conrad’s idea of time occurring and ending at two ends of the sculpture.” Two versions Phil planned modules for two versions of the typeface: one with five lines in the letterforms and one with seven. He then drew the modules on-screen and twisted and turned them to build the machine that is FS Conrad. “This is not a simple headline typeface,” says Phil. “It’s not a rigid structure. It has varying character widths, and it’s informed by real typographic insight and proportions so that it actually works as piece of functioning, harmonious type.”

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

When it comes to effective communication in the world of high-technology, every detail matters. Your message needs to be clear, concise, and precise. That’s why you need Zosma, the purpose-driven typeface designed to mirror the sleek lines of today’s hi-tech hardware. With Zosma, your designs will have the perfect balance of form and function. The stark precision of this typeface will convey your message with clarity and power, whether it’s on a product label or in a user manual. Zosma comes in three weights and italics, giving you the flexibility to create a variety of designs that perfectly match your brand’s aesthetic. Plus, with its techno letterforms and industrial style, Zosma is the perfect choice for any company looking to showcase its cutting-edge design prowess. So if you’re ready to take your designs to the next level, get Zosma today and start creating with confidence. 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.

Drawn by George Ryan and named after Robert Givens, the co-founder and first president of Monotype Imaging, the Givens Antiqua™ typeface speaks with elegance and subtle authority. The design's open proportions, generous x-height and soft serifs lend Givens Antiqua a gracious quality that invites reading. I didn't work from any single design model," Ryan recalls. "The face grew out of my experimenting with several characters from a hand-lettered headline in a magazine. I worked on the shapes and forms for some time before I put the drawings in a drawer." At that point Ryan had finished the basic alphabet in two weights, but had not yet tackled the italics. A new project came along that demanded his full attention, and it was two years before he revisited the drawings. He liked what he saw and decided to finish the job. "The italics were the most problematic designs in the family," says Ryan, "but once I had their basic shapes and proportions, the rest was basically a production project." Another year of sketching, testing, editing and reworking characters ensued before Givens Antiqua was ready for release. The result is a four-weight family of roman designs and small caps, with complementary italics for the lightest three weights and a suite of swash caps for the italic designs. Givens Antiqua and Givens Antiqua Light show a modest stroke weight stress and a light, even text color. Givens Antiqua Bold is an effective emphasizer for text copy and an authoritative communicator at display sizes. The Black weight performs best at large sizes and makes a powerful statement without shouting, while the italic swash capitals possess enough vitality to serve as standalone initial letters."

Ariata™, from Malou Verlomme, is three typefaces in one. Like phases of the moon, they gracefully meld from one to the other. The “Text” weights are sturdy designs that perform as well in blocks of copy as they do in the occasional headline. The “Display” versions of Ariata are delicate but confident designs that shine in large sizes, while the “Stencil” typefaces are eye-catching and provocative. Each version is available in four weights, from a forthright regular to a robust black, making for a family that is comfortable taking on a wide variety of tasks. The individual designs can be combined with each other to create a distinctive, yet cohesive typographic statement, or stand on their own as confident communication tools. If you want a little more variety, Ariata’s solid glyphic shapes will serve as a dynamic counterpoint to just about any Humanistic sans. Space economical and distinctly original, Ariata easily creates commanding headlines, pull-quotes and subheads. Packaging, game branding, posters, book jackets and advertising design are all also within its comfort zone. While primarily intended for print applications, Ariata’s full-bodied x-heights, generous counters and clear apertures make for a design that is also at home in many digital environments. Verlomme is an award-winning Senior Type Designer at Monotype. He has a degree in graphic design from l'École Duperré in Paris, and an MA in Typeface Design from the University of Reading. He taught type design at several universities in Paris and still occasionally lectures and gives workshops. His typeface Camille has the honor of being part of the collection at France’s Centre National des Arts Plastiques (CNAP). Verlomme also designed Placard® Next, Madera™ and Johnston100, London’s new underground branding typeface. Click here to see all of https://www.monotype.com/studio/malou-verlomme Malou Verlomme’s typeface designs.

Madrigalle was seven months in the making and may be described as a contemporary copperplate. When designers look for a font that is both elaborate and strong, they generally have to go back to styles of a previous period, possibly produced recently but not contemporary in their look and feel. In Madrigalle, I believe that I've produced a font that is contemporary but has the boldness and delicacy that mark the fonts of previous generations. I feel that most fonts that derive their style from the complexity of their characters place too much emphasis on upper case characters, and that lower case characters are very conservatively treated. I have tried, with Madrigalle, to redress this imbalance and to introduce informality and vigor to the genre. Madrigalle comes in three options: Two simpler options, Madrigalle Nocturne - slightly less elaborate, and Madrigalle Minuet - slightly more elaborate. Each of these options may be easily used in packages that don't support the Character Map OpenType feature. The Professional Option, Madrigalle Expert, combines all the features of Nocturne and Minuet and has a large number of additional opentype character alternatives. It takes full advantage of Opentype features to provide the designer with a wide range of options, enabling him to give an individual stamp to his work. I recommend that packages such as InDesign and Illustrator, which support Character maps, be used with Madrigalle Expert in order to make full use of this font’s OpenType features. (Just select GLYPHS from the TYPE palette, and set your creativity free!) All Madrigalle styles contain the accented characters used in the major European languages. Try Madrigalle, use it for invitations, advertising media, fashion media, music media, contemporary cosmetics, anything romantic... the list is endless!

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Pan-European family has 17 fonts in total, supporting the W1G character set. It spans six weights from ultra light to heavy, each with an italic complement. In addition, three condensed designs and two monospaced (typewriter) typefaces were drawn to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity. While the family is also large enough to manage complicated typographic hierarchy, SST pairs handsomely with typefaces as far reaching as ITC Berkeley Old Style®, Meta®, PMN Caecilia®, Malabar® and Neue Swift®.

With Transmute, you’ll be transported back to a time when science and machines were the focus of the world. Our display typeface is inspired by vintage technical lettering, with squarish letterforms and quirky angles that give your designs an unmistakable edge. Transmute’s harsh, precise letterforms are the perfect choice for anyone who wants to evoke thoughts of unusual electromechanical, scientific apparatus from a bygone era. Whether you’re designing a cutting-edge website, an eye-catching poster, or an attention-grabbing ad campaign, Transmute has everything you need to make your designs stand out from the crowd. And with three weights to choose from—light, regular, and bold—you’ll have complete control over the look and feel of your designs. So why settle for boring, traditional typefaces when you can add a touch of techno to your designs with Transmute? Try it out today and see the difference for yourself! 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.

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber 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.

Veto® Sans is both highly legible and handsomely distinctive – a rare blend in a typeface. It’s a design that stands out and fits in. Veto Sans is equally competent on screen and in print. It’s four carefully determined weights in both normal and condensed proportions, each with an italic complement, give the family an exceptionally deep range of applications. All the designs in the family are valuable design tools. None are superfluous. Advertising, brand, corporate, editorial and interactive design are all in Veto Sans’ wheelhouse. It also shines in wayfinding and other signage projects. And to all these, it brings a warmth and personality. An ample x-height, open counters, vertical stroke endings and subtly condensed capital letters enable Veto Sans fonts to perform with grace in print and digital environments while being space efficient. An added benefit is that all-capital typography set in Veto Sans is not only space saving, it’s also easy to read. Drawn as a complete reimaging of his earlier Veto design, Swiss designer Marco Ganz worked to create character shapes distilled to their purest forms while maintaining a relaxed and natural demeanor. Ganz, who is also a three-dimensional artist, is acutely aware that the negative space between letters and the internal space within letters is as important as the positive shape of the letters themselves. This dynamic balance between the negative and positive aspects of character forms gives Veto Sans a sense of immediacy without looking hurried. Ganz also took great care to draw a suite of italic designs that not only complement the roman weights perfectly, but also give the family a dynamic verve. A large international character set also ensures ease of localization. “Veto Sans,” says Ganz, “is a typeface for designers that search for a new and different solution to age-old typographic challenges.”

The Maiandra family of typefaces were inspired by an early example of Oswald Cooper's hand-lettering, as seen in an advertisement for a book on home furnishing, circa 1909. Although many of Oz Cooper's letterform designs were cast in metal type, this particular one was not. Cooper's design itself was inspired by examples of letterforms he had admired in his study of Greek epigraphy (inscriptions). Cooper combined those ancient forms with the flair characteristic of design styles of his time. The result was an attractive design possessing subtle, purposeful irregularities, or "meanders" in his skilled brushwork. The Cooper design exhibits a unique warmth and harmony in text, while presenting a compelling rhythm, color and texture on the page. "Realizing the presence of this uniform warmth and readability," notes Dennis, "I decided to expand the design into a family of three weights with companion italics." The weights for the Maiandra family were selected for their versatility in usage over a broad range of output device resolutions. Indeed, "the consideration of eventual display resolutions, be they for screen or printer, provided the greatest challenge in the design of this typeface family," explains Dennis. Creating shapes that conform to the rigors of digital letterforms and modern rendering environments, without losing the unique characteristics of Oz Cooper's original design, is what Dennis has accomplished with his tribute to this great designer of the past. Maiandra, whose name derives from the Greek 'maiandros', meaning 'meander,' is intended for extended text use, as well as for informal subject matter, such as business correspondence, brochures and broadsides. "An example of a good use for Maiandra," notes Dennis, "is in printed matter relating to the turn-of-the-century art period known as the Arts and Crafts Movement. It can stand alone or be used with designs that complement its shape and color."

The Ahoura font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. The Ahoura innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Ahoura supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Ahoura Font family is available in three weights; Light, Regular and Bold. Each has two different styles-- normal and italic. Ahoura is the first real italic Arabic typeface known until now and its intuitive design arrangement fulfils the following needs: - It is precisely crafted for use in electronic media and it fulfils the demands of electronic communication. Ahoura is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Ahoura is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Ahoura's simplified forms may be artificially obliqued with In Design or Illustrator, without any degradation of its quality for the effected text. - Ahoura is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. - Ahoura uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Ahoura typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection. Even though it is strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) it is not slavishly modular: letters have differing widths, and the sidebearings, spacing and kerning has been finely adjusted to create smooth text. The Soft family contains three weights each with 6 variants: A is the basic form and the starting point B has more dynamic and modern shapes C has open and swirly shapes X is the serious text version Y has a very horizontal look Z is a collection of all the remaining more funky shapes Mix and match to your heart’s desire! Please enjoy the free “Bold N” version - this “notched” variant lets you test out the quality of the outlines and the language support. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Rae's Monogram Family is a contemporary take on monograms. Rae's Monogram One letters are best used as the right and left letters. You can add Rae's Monogram Two for the middle letter. Rae's Monogram Doodles One are 50 small illustrations to use with the monogram. If you don't see the one you want take a look at over 1,000 others in Outside the Line's Doodle font library. Of course just because it was planned this way doesn't mean you have use them this way. Use your imagination! You can use just one font, or two or all three. Commercial Licensing: Rae's Monogram Doodles One uses Outside the Line's normal licensing if you are using an illustration alone or not in a monogram on commercial goods. Plz read the http://www.outside-the-line.com/license/ Rae's Monogram One and Two offers Impression Licensing. If you don't intend to sell any items made from these fonts you don't need an additional license. But if you do, to make it easier Outside the Line offers the added ability to buy this license upgrade at the time you place your order. Plz contact Rae directly to do that. By default, you're allowed to sell 250 items in total without any additional licensing required and should you intend to sell more items, additional levels of licensing can be purchased now or at any time in the future. To be clear, 250 items doesn't refer to how many different items you may create but rather refers to the number of total sales of any item or items created with these fonts. If you have any questions or need additional commercial licensing feel free to contact Rae at hello@outside-the-line.com She is always happy to hear from you.

Hey, cats and kittens! Dig this groovy font we got for ya—Burpology! It’s the perfect typeface for all your cartoon headline needs. With its heavy weight, small counters, and tight spacing, you’ll be making a visual footprint that’ll knock ’em out! And that’s not all, daddy-o! Burpology comes equipped with automatic shuffling of three letter and numeric variations in OpenType-savvy apps, giving your words that cool, hand-drawn vibe. It’s like having your very own in-house cartoonist! So, if you want to add some serious pow and pizzazz to your headlines, just hit up your application’s contextual alternates or standard ligatures option and watch the magic happen. Don’t be a square, man—get Burpology and let your words do the talkin’! 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, Maori, 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.

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

Lotus Heart - Classy Ligature Font Lotus Heart is a stunning and luxurious display font that exudes sophistication and elegance. This font is the perfect choice for those looking to add a touch of class to their design projects. The idea behind the creation of Lotus Heart was to capture the essence of luxury and elegance in a typeface. Its classic and timeless style is perfect for high-end product branding, fashion, beauty, logos, book covers, posters, and flyers. Lotus Heart is a versatile typeface that can be used in a variety of design projects. It's a perfect match for any project that requires a touch of luxury and elegance, such as high-end product branding or fashion. This font is perfect for creating logos, book covers, posters, and flyers that will stand out and make a statement. The font comes with various features, including uppercase and lowercase letters, alternates, and ligatures, which can be accessed using OpenType technology. Additionally, this font includes number, punctuation, and symbols, making it suitable for a wide range of design projects. It also supports multiple languages, making it accessible to users from different regions. In the package, you will receive three different formats of the font, including OTF, TTF, and WOFF. This means that you can use Lotus Heart across a range of digital design platforms, including Adobe Photoshop, Illustrator, and InDesign. Lotus Heart is a classy and elegant ligature font that is perfect for adding a touch of sophistication to any design project. Its versatility, along with its classic and timeless style, makes it an excellent choice for product branding, fashion, beauty, and many more design projects. With Lotus Heart, you can create stunning designs that will leave a lasting impression on your audience. Choose Lotus Heart today and elevate your design projects to the next level with its luxurious and sophisticated style.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. The proportions and letter shapes are flexible, escaping from tradition to increase expressivity and personality in the design. For instance, variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. For instance, this is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The typeface has a wide range of ligatures that enhance movement and fluidity in text making look text alive.

Introducing Veriox, the quintessential embodiment of modern scientific innovation in typography. Veriox’s square letterforms, derived from traditional analytical shapes, exude an industrial sophistication that is both alluring and commanding. Our designers have seamlessly integrated high-tech design effects into Veriox, creating an innovative and unique aesthetic that is sure to make your message stand out from the crowd. The result is a typeface that exudes a sense of precision, confidence, and grace. Veriox comes in three distinct weights and italics, providing unparalleled flexibility for your design needs. Whether you’re looking to create a sleek and professional corporate identity, a dauntless and striking marketing campaign, or a sophisticated editorial layout, Veriox has you covered. Don’t settle for mundane, generic typefaces. Choose Veriox and elevate your message to new heights with its distinct, sophisticated style. 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.

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber 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.

Gambler is a characteristic display type collection of 7 font styles with both clean and textured -making it total 14 fonts designed to play together. Gambler strikes with witty and elegant appeal combining vintage and modern elements. Gambler is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, prints on garments, restaurant menus, beer labels and so on, both offline and online. Gambler Script is a smooth contrasted script that comes in two weights and it is packed with plenty of OpenType features: Standard Ligatures and Contextual Alternates are automatically on and they help to keep the flow and connections smooth. From Stylistic Alternates you’ll find characters with pointed endings and some other small variations. For extra flair try Swash or Titling Alternates. Gambler Script is PUA encoded so you can access the extra characters in most graphic design softwares. Gambler Brush is a soft brush script with low contrast and large x-height. Gambler Brush comes with following OpenType features: Standard Ligatures and Contextual Alternates that are automatically on and that keep the connections smooth. For less uneven word picture try Stylistic or Swash Alternates. Gambler Brush is PUA encoded so you can access the extra characters in most graphic design softwares. Gambler Flare is a flared serif with sharp edges and wide characters Gambler Flare comes in two weights. Gambler Gothic is a rigid condensed sans serif that comes in two styles: Regular and Shadow. Gambler Gothic Shadow has a narrow lining giving a three dimensional expression to the font. Gambler fonts are designed to play together, in pairs, or all together but they also work great as themselves or combined with other Fenotype Fonts.

It's time to kick off your shoes and feel the "sans" between your toes. Like Cabrito Inverto , its stress-reversing cousin, the new Cabrito Sans serves up something nice and cool in the heat of the project. A quick recap: the original Cabrito is an insigne Design slab serif produced for the kid's book The Clothes Letters Wear. It's been pretty well-received--even more than I expected. I promised to grow the family with a free-standing inverted style that could pair well with Cabrito. (See Cabrito Inverto.) Now, I'm rounding out the family with this well-crafted sans. And so now, Sans is where it's at. Strip away the serifs of Cabrito, and you have a laid back, rounded sans serif alternative served up over easy. This handwriting-inspired creation--like its relatives--is definitely not uptight about its forms (though not afraid to show them off a little). Cabrito Sans' whole pack of alternates is accessible in any OpenType-enabled program. This kiddo consists of a workforce of alternates, swashes, and alternate titling caps to give the font a little extra sweetener to its flavor. Also bundled are swash alternates, old style figures, and compact caps. Check out the interactive PDF brochure to test out each these options. This font family members also consists of the glyphs for 72 various languages. Cabrito Inverto and Cabrito do pair nicely with Cabrito Sans (in case you doubted). Use Sans--or all three of these amigos--to express friendliness on just about anything: food, candy, toys, cars (if you're feeling bold). Don't wait, though. Purchase Cabrito Sans today, and bring a one-of-a-kind look to whatever your computer's next design party is.

Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps. Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density. Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features. Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough. The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion. Check out also ‘Modern Love Slanted’ Turquoise Nautica