Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and even today inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. Chauncey H. Griffith’s Poster Bodoni displays characteristics of the advertisement fonts of the first half of the 20th century. The font was most often used for posters and signs, eventually including neon signs.

The first version was created in 2022, Avita was again revised and improved in V.2.0 in 2024, reborn with sharper sharpness and a cosmic gaze. This geometric sans serif is not just a font; he is more than that, weaving clean forms into a dance of precision and imagination. The tall x-height and playful ascender ensure it fits perfectly into any design in its 54 styles, whispering a subtle secret or a bold statement as your design demands. Don't be limited by the ordinary. Avita embraces the future, whether it's sleek sci-fi, minimalist style, or the unexpected charm of a skincare brand. Let Avita speak to the world in 103 languages, including Cyrillic and Greek, or reach for the stars with special astrological and astronomical glyphs. Unleash your typographic art with an arsenal of OpenType alternatives, ligatures, fractions, arrows, and more. It's not just a font; this is the sculpting tool for your wildest design dreams. Avita's clean lines and limitless versatility are an invitation to push boundaries, elevate your vision, and let your creativity soar.

Gothic in a contemporary style designed with a broad skeleton. Considering line alignment, we have aimed for a sense of harmony in both vertical and horizontal typesetting. フトコロ（画と画の間の空間）を広くデザインした現代的感覚のゴシック体。組み版時のライン揃えを考慮し、タテ組ヨコ組で違和感のない書体を目指しました。木版時代から手書きレタリングへと引き継がれてきた精美堂ゴシック体をデジタルフォントで再現。手書き文字を組んだ印象はそのままに、フトコロを広く現代風にアレンジしました。遠くからでも近くからでも読みやすい、目を引く見出し用ゴシックです。

Langston is an original design by Alex Kaczun. It’s part of a series of lettering experiments, manipulating body proportions, characteristic elements and spacing to achieve some dramatic visual effects. It is hard to characterize if Langston is an outline or inline font. The outline has the same thickness and proportions as the stems. And the inter-letter spacing is also visually similar. This creates a dynamic and interesting visual harmony throughout. Furthermore, certain design elements like the accents and punctuation symbols, break with the outline treatment, and morph into an interesting play between inline and outline. The overall effect is stunning and mesmerizing. Langston is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications.This attractive display comes in roman with lower case and lining figures.The font is also available with true small capitals and old style figures. A special version was created with decorative initial capitals to further enhance the possibilities. The large Pro font character set supports most Central European and many Eastern European languages.

Raqmi was designed as a serif like font with relatively uniform glyph thicknesses, perfect simplified straight lines and curves, and emphasized isolated letters. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and light, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Raqmi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

How can we possibly call our line of celebrity fonts the MASTERS OF COMIC BOOK ART if it doesn't include a font based on the remarkable work of comic’s renaissance gentleman, artist/writer/colorist/letterer, Dave Gibbons?! Based on Dave’s easy-on-the-eye hand lettering, this is the font Dave himself uses to letter projects such as STAR WARS: VADER'S QUEST, MARTHA WASHINGTON & BATMAN: BLACK & WHITE. Other guys may imitate him, but the original is still the greatest! Get in with the In Crowd and check out the font created by Mister Fontastic for Dave Gibbons Original Graphic Novel, The, ah, The Originals. Yes, Dave Gibbons now comes in lower case, it’s not just what he does when he gets back from the off license. Be sure and pick up The Originals from Amazon -- now available in paperback, and probably still available as a hard case, much like Dave. After the crack about the beer above, I'm guessing you'll find me with a broken spine in the remainder pile. See the family related to Dave Gibbons: Dave Gibbons Journal & Dave Gibbons Lower .

The initial inspiration for the typeface came from examining precisely machined labels on tools of various kinds, from cameras to cars, which need to be perfectly legible at all sizes. Such processes create a distinctly streamlined, clean look that feels both robust and stylish - universal and unique. Technical Rounded VP includes ten diverse styles, offering great versatility. All styles in this family include an extensive Latin character set, the Greek alphabet, multiple sets of numerals, a large set of punctuation marks, and other symbols. With 1120 glyphs in each style, it guarantees full support for all Latin languages. To make the family even more powerful, twenty OpenType features are included, such as multiple vertical positions, diagonal fractional forms, optional slashed zeros, separate old-style and lining figures, small capitals, and contextual alternates. If you are looking for similar typefaces, note that Technical Rounded VP is the soft counterpart of Technical Standard VP. A stenciled version is also available. They can be used either on their own or together seamlessly.

Normal and upright italic script fonts line a well-trodden path; left-leaning fonts (or "rightalics" as they're confusingly called), on the other hand, are a rarity. Here at Eclectotype Fonts we don't like to do things too conventionally, so here's Backstroke, a laid back script with a unique voice. With contextual alternates for start and end forms of certain characters, swash versions of L, Q and Z (surely the most used initial caps!), and a handful of stylistic sets, Backstroke is a restrained script. Stylistic sets are: 1. the start forms of i, j, m, n, and p are used always instead of only at word starts. 2. lower case ascenders get a whole lot loopier. 3. alternate versions of G, N and Y. 4. swash L, Q and Z. 5. swaps the default Polish script lslash for a more familiar version While fonts that lean the wrong way may be a bit more difficult to fit into your layouts than boring old regular italics, they will reward you with their individuality. Why not give it a go?

In Greek mythology, Argo was the ship on which Jason and the Argonauts sailed from Iolcos to Colchis to retrieve the Golden Fleece. The Argo Nova font is an adventure though geometric sans universe with a touch of humanistic feel, bringing a different look with curved vertical strokes and high contrast on thicker weights. Designed with OpenType features, it includes extended Latin support, fractions, tabular and old-style figures, ligatures and more. With no excess in mind, it came in 10 styles (5 uprights and is matching italics) and it is a font family ideal for text, branding, signage, editorial, print and web design creations. 5 weights: Thin, Light, Regular, Bold and Black Matching italics Lining and old-style figures with proportional and tabular spacing Ligatures on “f” Alternate characters for a, æ, g and ß Fractions Ordinals Extended language support, designed following the Underware Latin Plus character set, with 534 glyphs, supporting 219 Latin based languages (see https://underware.nl/latin_plus/languages/). * Some features require an application with OpenType support.

Opulenio – A Thin Elegant Serif Typeface Opulenio, a thin and elegant serif typeface, epitomizes sophistication with its refined design and delicate strokes. The slender serifs and gracefully elongated letterforms create an air of timeless grace, making Opulenio a perfect choice for projects that demand a touch of luxury and class. The precise balance between thin lines and subtle detailing contributes to its understated beauty, ensuring legibility while exuding a sense of modern opulence. Whether employed in editorial design, branding, or invitations, Opulenio effortlessly communicates a sense of style and exclusivity, captivating the eye with its slender yet impactful presence. This typeface seamlessly blends modern aesthetics with classic charm, offering a versatile and distinguished typographic solution for those seeking an elegant and refined visual language. Opulenio 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.

Vinery Sans serif Introducing Vinery - our latest sans serif font that combines modern design with unique swash alternates. This font is perfect for any design project that requires a clean and sleek look. With its minimalist and elegant design, it's ideal for branding, packaging, editorial, or web design. Vinery comes with a range of swash alternates that are carefully crafted to add an extra level of creativity to your designs. Whether you're looking for a simple or elaborate swash, this font has got you covered. The alternates are easily accessible, so you can switch them up to create different styles within your design. This font features a modern and sophisticated look with its clean lines and geometric shapes. It's easy to read and versatile, making it suitable for both headlines and body text. Vinery is perfect for creating a contemporary and professional look that stands out. With its unique swash alternates, it's sure to add a touch of creativity to any project. Try it out today and take your designs to the next level!

Introducing “Othuf Font” – Where Handwriting Meets Elegance. Othuf Font is the epitome of handwritten elegance. With its captivating handwriting theme, this font is your key to adding a touch of sophistication and authenticity to your creative projects. Whether you’re designing invitations, posters, or branding materials, Othuf Font effortlessly grabs attention and infuses your designs with the charm of true handwriting. Crafted with meticulous detail, Othuf Font exudes the timeless beauty and grace of handwritten script, forging an immediate connection with your audience. Its versatility knows no bounds, making it a perfect fit for various applications, from wedding stationery to logo design. Othuf Font enhances readability and style with its graceful strokes and flowing lines, providing a natural and appealing look to your text. It also offers support for multiple languages, ensuring that it resonates with a global audience. Elevate your creative projects with the classic elegance of Othuf Font. Explore this exceptional typeface today and let your designs exude the beauty of authentic handwriting. – PUA Encoded Characters – Fully accessible without additional design software.

Embrace the captivating elegance of LaRuja, a modern serif font that seamlessly blends feminine grace with unwavering strength. Its distinctively high contrast between horizontal and vertical lines creates a dynamic interplay of elegance and structure, making it a versatile choice for a wide range of applications. LaRuja's gracefully tapered terminals and subtly curved arches exude a sense of refined femininity, while its sturdy serifs and well-defined letterforms project an unyielding strength. This unique balance of characteristics makes LaRuja the ideal choice for projects that demand both beauty and substance. LaRuja's extensive language support, encompassing over 90 languages, makes it a global font that can be effortlessly adapted to diverse cultural contexts. From fashion magazines and branding materials to websites and marketing campaigns, LaRuja seamlessly conveys your message across borders. LaRuja's comprehensive weight system, ranging from Thin to Black, enables you to tailor the font's appearance to suit the specific needs of your project. The lighter weights, such as Thin and Light, exude elegance and sophistication, while the heavier weights, such as Semibold and Black, project authority and impact. Happy creating everyone!

‘Scion’ is an original design by Alex Kaczun. The inspiration for the typeface came from the Toyota SCION logo, which bears its name. In Alex’s own words, "I loved the simplicity, proportions and hi-tech look of the logo and decided to create an entire new design series based on its unique look". The fonts come in five flavors: thin, light, regular, bold and black. All the font weights were designed systematically on tabular widths so that the user can make adjustments to overall type color without changing the line length. In addition, Alex Kaczun has provided us with several alternate glyph substitions to further enhance the overall appeal of this contemporary new design. The large Pro font character set, which supports most Central European and many Eastern European languages, makes this typeface series ideally suited for display copy as well as text composition. In the near future, Alex plans to include a narrow, compressed and ultra expanded, along with true-drawn italic variations to further expand the possibilities of this great new display series.

Maris is a rich, elegant script, subtly characterized by a whimsical handwritten calligraphy. The family is composed of six different weights, each one bolder than the last but all equally as filling. The lighter weights move delicately through each line, showing a gentle strength in their smaller frame. The six weights from these lighter forms to the bold include some textured versions such as jean, wood, print, rough and halftones. The Maris family performs superbly in custom headlines and logotypes. Turn on Swash, Stylistic or Contextual Alternates for even greater emphasis. Opentype lets you "auto-magically" swap out letter sets with alternate versions and creates the visual diversity that gives you the one-of-a-kind look of custom lettering. It also uses OpenType features to assist with letter flow. When you choose to make use of its open-type decorative glyphs, your headlines will dazzle. For the greatest benefit, grab the entire Maris family. Thanks to its variety of styles, Maris makes it easier for you to design. With this large font family, solve your design problem with just one typeface.

Factum is a classical style serif typeface that sets the mood and evokes emoti­­­­­­ons before you read the text. Interchanging thick and thin lines, especially in Medium and Bold styles, creates an elegant silhouette and a rhythm in title sheet, cover art or poster. Yet Light and Regular styles look great in large type as well as headlines. Another speciality of the font family is Stencil styles that help you play around your typography and logotypes. Rich heritage and cultural experience behind the classical design make Factum font perfect for texts and messages connected to glamour, fashion, arts, literature, architecture, science, education, travelling, fine dining, cosmetics, beauty and etc. Timeless pattern and variety of weights and styles will make you use the font family again and again in different projects: creating logo, articles in magazines, branding, wedding invitations, quotes, posters, advertisements, monograms and many more. Character set of each font includes all European Latin-based glyphs, numbers, punctuation and OpenType features like standard ligatures, discretionary ligatures and fractions.

In the early 1980s, at the start of my career, I had the opportunity to work in a print shop with classic lead setting. In those days I would study issues of U&lc magazine from ITC. What really caught my attention were scripts in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since. A few years ago I developed a font. Boris Bencic used it when he was redesigning L’Officiel magazine in Paris. I took these initial forms and developed them into the font Mommie when I started my own foundry. Although I usually design text typefaces, working on Mommie taught me how complex it can be to create a script headline font. The biggest challenge in this process has been to keep it alive and fresh. The Regular weight is only made for very big headlines. The thin lines with the bold drops are very elegant. For smaller sizes use the Medium and Small weight. It won the TDC 2008 award and was Judges Choice of Christian Schwartz.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Heydista Notes is a traditional hand-written monoline signature font with clean, geometric outlines. This makes it the perfect choice for high-end branding or marketing materials. The font is modeled after the calligraphy of ancient Rome and Greece. It has a classic and timeless feel, but the clean lines give it a modern edge. Heydista Notes has been designed with attention to detail and with very high quality standards in mind. It includes over 200 glyphs, stylistic alternates with beginning and ending swashes that you can use with your designs, and alternate letters for each letter of the alphabet so you can create unique-looking words and phrases with ease. Whether you're looking for a classic feel or something more modern, Heydista Notes will elevate your designs to the next level. A Million Thanks www.colllabstudio.com

Debacle is a super bold contrastive display face built upon pure geometric shapes. Sharp, angular lines are countered against obtuse rounded forms creating a striking visual discord. Select inner corners are rounded, giving characters dual attributes, while linear round-end counters simultaneously contrast and compliment the square-ended punctuation and symbols. Stylistically, Debacle’s prominent letterforms effortlessly create type-as-image text settings. Its style relates to the lush display typefaces from the seventies, yet is highly contemporary in its refinement and finish. Features include: Precision kerning Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ffi, ffl, ff, fh, fj, ft, tt, th, ct, st, la, aj, fa, ls, es, ev, ew, tz, lv, lw, ti, it, ea, kv, ka, ky, yx, xy, yy, km, yw, wy, yv, vy, kw) Alternate characters (O, Q, _, $, ®, •) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Can we get a drum roll please? It’s not every day that a new link in a best selling chain is forged. First, there was Nanami, a font which took the world of type by force, storming to the top of MyFonts Hot New Fonts list; then there was Nanami Rounded, the most successful follow-up since Terminator 2. Well, say Hasta La Vista to boring design because now, there’s Nanami Handmade. With all the geometric, Japanese inspiration and style of the first two iterations, Nanami Handmade carries a quirky, mischievous charm. The font has a charisma matched by roguish anti-heroes; bad guys you love to love and good guys the other good guys hate, but everyone knows they’re what the audience turns up to see. Nanami Handmade comes in two styles, a solid and a hand-drawn, each of which has eight weights. Mix and match between these options to create a balanced piece which makes good use of the tactile, warm, earthy nature of the font. With these sans-serif styles working well in small and large sizes, both on and off screen, Nanami Handmade’s applications are virtually endless. Get your own piece of typography’s elite now, with Nanami Handmade, by Thinkdust.

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.

The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s. Panos Vassiliou came across this font while attempting to reduce the design elements of a text typeface, by introducing Bauhaus-like minimal forms to the characters. The first version was completed back in 2002 and introduced one year later in Parachute’s 3rd catalog, under the name PF Traffic. Some time later it was decided to make a few improvements but the project was so carried away that the new typeface which emerged needed urgently a new name. Beau Sans Pro is a modern sans-serif family of 16 fonts which includes true-italics. Just like all other Parachute fonts, it covers a broad range of languages by incorporating 3 major scripts i.e. Latin, Greek and Cyrillic in one font. Furthermore, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life. This typeface is totally recommended for titles and/or body text when you want to give a distinct and contemporary identity to a product or service.

Most of my fonts tend to skew more to the darker side in terms of themes and uses. So, as a challenge, I took it upon myself to design a font through the eyes of my wife. Josephine, having a sunny and carefree disposition, gave this font her blessing as being certifiably fun and cheerful. The name of the font comes from the Cantonese translation for "peach" (tow); and saying it twice (toto) is just a cuter way of putting it. Sort of like "Peachy". It's been my nickname for Josephine for as long as I can remember. Totoey has a glyph count of 390 and supports the following languages; Supported 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

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.

Delightful is a whimsical and cheerful handwritten font family of varying weights and widths. This typeface is like if Comic Sans had a cousin who studied abroad one summer and now wears scarves to look more grown up, even though inside she's still the same, sweet marshmallow she always was. The letters were inspired by my handwriting on a good day - slowed down, legible, and intentionally drawn. I even threw in some of my favorite doodles as alt characters because the set wouldn't be complete without them. And the name was inspired purely by how it feels when I see it - and by my word of the year, delight. Delightful is ideal for anyone who wants to include a bit more warmth and a personal touch with their messaging. It's friendly and non-threatening, and will enhance personal projects or professional ones alike - whether you're a designer, an Instagram influencer, or you need to create some flyers for the local Mom 'n Pop Shop. There are two versions of this font. The original style is slightly more rounded and gets chubbier as you increase its boldness, and the stretched style is like a condensed version, except it's been stretched taller rather than squished narrower. I hope you delight in it as much as I do!

Change Serif is a typeface family designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021. The main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms. The starting point was the preparation of most of the glyphs provided in unicode for Latin, Cyrillic and Greek. From the formal point of view, the Change family is based on Renaissance proportions with contemporary details. Classic upright version is paired with expressive and calligraphic italics, inspired by the works of Robert Granjon. Each of the styles contains about 4,000 characters, allowing for a broad range of typesetting capabilities – multiscript publications, historical translations, and texts transcription. The crucial aspect was to treat all scripts equally. All OpenType features, such as swashes, final forms, decorative ligatures, can be found in Latin, Cyrillic and also Greek. The name of the typeface refers to the design process in which there are constant changes and corrections. On the other hand, it means to convey how this project influenced my perception of typography and allowed me to embrace it as a medium of artistic expression. Due to its similar proportions, Change works perfectly with the Gaultier typeface.

TT Lovelies Script useful links: Specimen | Graphic presentation | Customization options About TT Lovelies Script: Without any false modesty we can say that TT Lovelies Script is one of the most complicated projects we have ever carried out – there are 1115 glyphs, more than 2000 contextual alternates, 10000 kerned pairs and a large number of OT features, including ligatures and Old Style numbers. The most important characteristic of this font is that it is really seamless. We've done the impossible: in TT Lovelies Script, even capital letters are connected to lower-case letters without any breaks. The base for our typeface is original calligraphy by Russian designer Alena Korobanova. The beautiful handwriting was painstakingly crafted into a fully functional font. TT Lovelies Script is a very lively and playful typeface with some unpredictable nuances. Turn on the use of OpenType features CALT & DLIG in your graphic editor and use the font to the full. Every lower-case letter has characteristic pen strokes which begin and end a word. The pen strokes are turned on automatically when you accordingly type two hyphens at the beginning and at the end of a word. For instance, type '- - apricot - -' and you'll see the beautiful pen strokes at the beginning and at the end of the word. TT Lovelies Script uses a great number of contextual alternates and ligatures which help maintain the handwritten impression. For each letter, a separate grapheme is created for the end of a line, and we've also integrated the Case Sensitive OpenType feature to make working with upper-case characters easier. We've enabled onum, sups, sinf, numr, dnom, frac, ordn as well in order to work with figures. To benefit from all of these wonderful options, you need to use software which supports OpenType features. TT Lovelies Script 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, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, 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.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

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).

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

Timeless imperfection FS Meridian is a rhythmic geometric grotesque which takes inspiration from the precise yet imperfect nature of time. There are 24 hours in a day. 60 minutes in an hour. 60 seconds in a minute. Well, almost. The Earth’s orbit isn’t a perfect circle – and nor is the Earth itself. Each day varies a few dozen seconds and up to 16 minutes each year. Look closer and time is more flexible than we think. Geometry with a twist From a geometric base, FS Meridian’s rounded forms veer and extend, creating unexpected humanistic shapes – while the straight terminals remain reliably rigid. This combination of forms gives this grotesque sans serif a pleasingly dynamic rhythm, every time it’s read. Added quirks The unconventional character of rigid terminals and ink traps are balanced with emphasized extended forms to develop visual differentiation. Designed by Kristina Jandová, the complete family has been carefully crafted with distinguishing marks. Take a look at the cap ‘Q’ which comes with three alternative options. Deliciously loopy FS Meridian has a wide geometric, mono-liner appearance with humanistic elements. Quirky individual touches like the loopy expressive pound sign help the typeface to stand out. Available in five weights, FS Meridian is both timeless and timely, a distinctive font for all screens and surfaces.

Sleeve Notes: A font from the analogue age. Inspired by album covers and hand-written song lyrics. Sleeve Notes is an experimental script font and all-caps pair with a loose hand-written style that explores the golden-age of record stores, vinyl albums, cassettes and CDs. It imagines our teenage selves kicking back with a coke (oversized headphones on) discovering a new band and studying the notes on their latest album. Besides production credits, the best sleeves (otherwise known as liner notes) included photos, cool artwork and hand-written song lyrics that gave the listener a human connection to the mind of the artist. This font embraces it's subtle ink blotches and rough edges; all imperfections that build to create a sense of a hastily written lyric, set-list or just a fun little scribble. The package includes six fonts in total; the regular script with two complete sets of alternatives, then two sets of all-caps, and finally the special characters font that features a decorative alphabet plus symbols and underlines. For authentically retro, hand-made looking lettering, it's a great choice and offers the flexibility few other fonts can match. Check out all the visuals to see it action!

Timeless imperfection FS Meridian is a rhythmic geometric grotesque which takes inspiration from the precise yet imperfect nature of time. There are 24 hours in a day. 60 minutes in an hour. 60 seconds in a minute. Well, almost. The Earth’s orbit isn’t a perfect circle – and nor is the Earth itself. Each day varies a few dozen seconds and up to 16 minutes each year. Look closer and time is more flexible than we think. Geometry with a twist From a geometric base, FS Meridian’s rounded forms veer and extend, creating unexpected humanistic shapes – while the straight terminals remain reliably rigid. This combination of forms gives this grotesque sans serif a pleasingly dynamic rhythm, every time it’s read. Added quirks The unconventional character of rigid terminals and ink traps are balanced with emphasized extended forms to develop visual differentiation. Designed by Kristina Jandová, the complete family has been carefully crafted with distinguishing marks. Take a look at the cap ‘Q’ which comes with three alternative options. Deliciously loopy FS Meridian has a wide geometric, mono-liner appearance with humanistic elements. Quirky individual touches like the loopy expressive pound sign help the typeface to stand out. Available in five weights, FS Meridian is both timeless and timely, a distinctive font for all screens and surfaces.