Deva Ideal was inspired by women’s beauty. It didn’t come only from the desire to create a new typeface. It also seeks to materialize beauty in a visual form. Instead of imitating the shapes of the female body or other formal attributes, Deva Ideal is an abstract expression of the women’s beauty. The unique character of the typeface is achieved by the use of soft, almost invisibly bent strokes, since one of the priorities of the typeface is not to disturb the eye of the reader with odd design details. Deva Ideal excels in her cold beauty and shows her sex appeal. The soft curves present in Deva Ideal differ from the masculine and technical shapes used in most contemporary typefaces. Deva Ideal has ideal proportions (90 / 60 / 90) and its shapes are essential and simple. Because of this, it is ideal for setting text in all kinds of printed matter: catalogues, books and magazines. The letter forms are wide and open, so text can be set in small sizes and thus space can be saved, while keeping the same degree of readability. The author wishes to acknowledge František Štorm for his invaluable opinions. Also to Palo Bálik and Peter Bilak for their contributions. I am specially grateful to all the devas (archaic expression for beautiful young girl), who inspired me to design this typeface. This is dedicated to Janka Ráczová, Jarka Krajčiová, Mariana Felgueiras and obviously to Martinka Filípková! Every use of Deva Ideal is a little homage to these interesting women.

URW Geometric Extended is the matching complement for the URW Geometric, including 20 additional extended styles. URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric. These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for today’s needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The number sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric is perfectly designed for today’s requirements.

Juxta Sans Mono is an experimental monospace sans, an extension of the Juxta superfamily. During the creation of the Juxta script, I felt that the aesthetics and the main idea of the font had promising potential and I started thinking about a pair for it. So the idea of Juxta Sans Mono was formulated. Juxta has several style-forming elements: 45° beveled or cross out bowls, squared m and w arcs and other unobvious letter structures. Despite its unusual and sometimes odd (f, g, m) letterforms, Juxta Sans is fairly easy to read due to its monospace font nature and wide spacing. Juxta Sans Mono offers great customization potential. It has two sets of stylistic alternates — [salt] makes a letter underscored, but keep it in line, [ss01] replaces some of the glyphs with different letterforms. The [case] function automatically adjusts the height of the punctuation marks to the neighbor letter and [onum] is a set of old style numbers. Juxta Sans Mono also has subscript and superscript features, but they are utilized a bit unconventionally — if you want to customize your logo or headline, you can make a glyph superscript and the one next to it subscript and they automatically kern into one letter width. You can see examples of using these features in the presentation. Juxta Sans Mono is available in 8 weights, including Thin, Light, Regular, Medium, SemiBold, Bold, ExtraBold and Black. It extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin, Afrikaans, and Basic Cyrillic.

About Royalis: Royalis is an expressive and extravagant serif typeface family. It is characterized by a high contrast and dynamic features in the details, such as long terminals or deep inktraps. Royalis is available in three versions: a display version in six weights, a corresponding condensed version also for display applications, and a text version for body text in four weights. It also comes with all the corresponding italics. This makes Royalis versatile, especially for editorial, packaging, branding and advertising. The wide range of weights and possibilities allows Royalis to be used variably. The thinner weights are characterized by their elegance, while the thicker weights captivate with their powerful contrast. They complement each other like the three musketeers once did. Be it the charmingly elegant Aramis, the sober strategist Athos, the powerful ruffian Porthos or the charismatic d'Artagnan, who led the group. Features: The Royalis family has a total of 32 weights, from extralight to black with matching italics, as Display, Display Condensed and Text versions. With over 1027 characters, it covers more than 200 Latin-based languages, with a whole range of Open Type features. There are alternative characters as stylistic sets, small caps, automatic fractions - just to name a few. Arrows and numbers: In particular, the extensive selection of arrows and numbers should be mentioned here. Thanks to Open Type features and a simple system, the various designs of arrows and numbers can also be easily "written" without first having to select them in a glyph palette.

There are many script typefaces but there is only one Scripticus. Scripticus is like a chameleon: In whatever surroundings you put it, it adapts itself and looks like it couldn't be anywhere else. Be it a sales advertisement, a music Website, a comic strip or a journal with complex chemical formula – Scripticus always solves the problem in a natural and leisurely way. And it never makes compromises concerning clarity. But where does Scripticus come from? … From the good old high school blackboard! Blackboards have become almost obsolete in teaching, but be it a black or white background – clear, strong characters placed on the board while the facts are explained are still one of the best ways to make and keep things understandable. Scripticus is dedicated to my high school chemistry teacher who was an expert in just this. While the letterforms come from different inspirations, its aim is the same as the pedagogical aim of my teacher: Combining clarity with a strong personality. Scripticus has a special trick to give it its natural look: Four alternates for each letter and each number plus rotation coding make the glyphs appear in lively melodic flow. In this way even mathematic equations look nice! Scripticus has a lot of OT-features that help it do its job. They are: capital spacing, localized forms, subscript, scientific inferiors, superscript, numerators, denominators, fractions, ordinals, tabular figures, historical forms, ligatures, stylistic alternates, stylistic set and ornaments. Finally, as is my general goal in type design – Scripticus supports close to one hundred languages from Latin extended to Cyrillic extended.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Sans is a modern sans serif with a geometric touch. Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Sans 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Sans" comes in 5 weights with matching italics plus "Trakya Sans Alt", also 5 weights and italics so a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one easy touch in all graphic programs. Trakya Sans is the perfect font for web use. You can enjoy using it.

Resist Sans is a free-spirited neo-grotesque that embodies both the innate desire for revolt and a tendency towards uniformity. While Resist Sans preserves the neat, minimalist look which is associated with neo-grotesques, it also accentuates the tentativeness of each letter form. The name, too, hints at the rebellious character of the typeface. Resist Sans comes in 28 styles (14 uprights and matching obliques). Text vs Display Resist Sans comes in two versions: Display and Text, which serve different purposes but remain interchangeable and even complementary in some cases. Resist Text is equipped with deep ink traps and optical compensators, which really come into play at smaller sizes. The Display version is smoother and more consistent, so better for use in larger sizes and headlines. Styles/Weights Each of the two versions of Resist Sans comes in 7 weights (Thin to Black) and is equipped with matching Obliques, which brings the total number of styles to 28. Two trial styles (Text Light and Display Medium Oblique) can be downloaded free of charge. Each style contains 900+ glyphs, awesome OpenType features, and around 1500 kerning pairs. Language Support Resist Sans is truly multilingual. It supports most European and Latin-languages and features Extended Cyrillic, which gives access to such languages as Ukrainian, Bulgarian, Serbian, Russian, Macedonian and many more. Free Styles Two styles of Resist Sans can be downloaded for free on MyFonts. Type Specimen Resist Sans PDF Type Specimen can be downloaded here: Resist Sans PDF Type Specimen

Big News! Tenez has been selected for the Tipos Latinos Biennial 2016 and Typographica’s Favorite Typefaces of 2015! Tenez is a Grand Slam display didone typeface from Plau. We designed it for a branding project, further developing the resulting logotype into a typeface we felt could solve many designers’ needs. Its origins are rooted in pointed nib calligraphy which can be seen in contemporary Didot and Bodoni inspired typefaces. But Tenez’s shapes are organic (these modern typefaces were originally cut by hand after all) – in fact that was the challenge we set from the start: to make a typeface as organic in construction as possible. This echoes some of late 19th century typefaces and advertising, yet we thought of it for contemporary uses. One of the several unique features of Tenez is its unusual Thin weight, in which the contrast between thin strokes and the black area left by the serifs makes for a typewriter-like personality. The italics provide a perfect counterpoint to the roman weights. Tenez was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. The family includes support for almost all Latin languages available, figure sets for almost every conceivable occasion (tables, text, you name it), alternates for the quirky beautiful R (sometimes simpler is better, but not always!) and Q (with a nice big tail for that article opener). Tenez pairs really well with our no-frills sans-serif Motiva Sans and our cute vertical connected script Primot.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

Swiss 721™ is a sans serif family that ranges in style from thin to black while mixing in a few unexpected, but beautifully made and ironically flattering, outline weights that spice up the grotesque design. Couple these upstanding letterforms with matching italic styles and you have yourself a beautiful tool that is as legible on screen as it is off, has the technical prowess to conquer even the trickiest of design riddles and will work in a myriad of projects. Swiss 721 is a staple sans serif that you’ll never be sorry you have in your library. It’s been said that a simple sans serif is one of the most difficult typefaces to design. This is because when letters are reduced to their most basic details, irregularities and inconsistencies in design become immediately visible. The Swiss 721 typeface family is a quintessential example of letterforms distilled to their essence while still possessing warmth and verve. Based on mid-century sans serif typefaces, Swiss 721 is a versatile family of weights and proportions ideally suited to a wide variety of print and interactive design projects and is equally at home as headlines on billboards as it is navigation content on small screens. Swiss 721 takes the essence of mid 20th century sans serif typefaces and melds it with modern design consistency and a systematic weight range. OpenType® fonts of Swiss 721 also benefit from a rich character set and a range glyphs supporting most Western European and many Eastern European languages.

Elido (Odile in reverse) is the sans counterpart to the Odile type. Together they form a sans/serif superfamily with a wide range of variations for editorial use. Elido follows Odile’s proportions and matches the weight and typographic color of its serif twin. Elido is a sans with classical proportions. A slight geometric hint and open counters convey an airy feel. Elido’s family structure and relations within echo the conceptual approach of Odile. The arched stroke low off the stem reveals a script characteristic most pronounced in the Elido Upright Italic. This particular interpretation is gradually diminished in the Italic and becomes even less emphasized in the Regular. Six balanced weights, from an elegant Light to a pronounced Black, are in tune with three display solutions and a set of beautiful Ornaments. These variants allow for a diverse and multifaceted typography for the discerning type user. Sans serif initials amount to a rare finding. The charming monolinear Elido Initials come in two flavors, elaborate and rational, designed to hold their own in editorial and headline sizes. This type design boasts an extensive character set, many OpenType features including roman and italic Small Caps, five sets of numerals, beautiful ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant glyph “s” for the Upright Italic. These distinct qualities with its versatile and sincere traits make Elido an excellent choice for text and display use.

Busted is the very strange and out-of-character outburst of Bill Troop, a guy who was classically trained in everything, from classical piano and literature to classical photography and type design. As far as we could tell, Bill Troop is the kind of guy whose appearance and voice instantly trigger thoughts of black and white photos, fedoras, and pre-industrial age Europe. A few years ago, he even moved from the United States to England, where it took him less than a week to feel at home and start sounding like a Norwich native. Then something happened and the poor dude just snapped. Busted is the controversial result of the blood rushing to his head. If you know what exactly happened to him, please let us know. Concern, consideration and human interest story aside, Busted is a fascinating thing. It is a set of four interchangeable thick outline fonts where the same letter forms turn from wild to wilder to broken to somewhat clean. Mix them up in a setting and you have words that snarl with a sneer. Life's too short. Take it all with a grain of salt. Scream whenever you feel like it. Busted Pro is a single font combining all four character sets, and rigged with an OpenType pseudo-randomizer in the contextual alternates feature, which you can disable or enable anywhere in your setting for maximum visual shock just the way you like it. Works just as well in PAL or SECAM. Don't be fooled by imitations, and don't get caught with your drawers down.

You gotta love this extreme take on the "gothic" blackletter traditions! Roger Nelsson edited a few letters, drastically improved the spacing - and then gave it the usual large CheapProFonts character set. Fun! Kevin King says: "Kingthings Spike was made because Buffy has one, I made Willow... Xander is yet to come. Oh and because I hate Engravers Old English! Pugin, eat my shorts! Sorry!" Kingthings Spikeless is a toned down version of Kingthings Spike. Kevin King says: "Kingthings Spikeless was requested by those who actually want to read text... well I call that tedious, but if you must, here it is no flourishes, just my small homage to black-letter." 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.

HD Colton is a 90-style super-sans from London Design Studio HyperDeluxe®. Using a combination of horizontal & vertical terminals along with squarish ovals, it is built with a confident structure that feels so much more than a neutral sans, it feels iconic. Engineered in 5 widths, compressed to extra wide, and in nine weights, HD Colton features a huge 90 styles that will offer your brand ultimate flexibility and variation in one font family. The black weights will help bring prominence to your brand while the light to mid weights will help you tell your story at a smaller size. HD Colton includes 1200+ glyphs per style, providing you with a workhorse sans that supports 200+ languages including extended Latin, extended Cyrillic and basic Greek. Also included are 5 stylistic sets, 2 arrow sets & numerous OpenType features (see last poster for complete list). The HD Colton complete family package comes with a single, 3-axis variable font so you'll have an infinite amount of combinations and uses for you to experiment with and add that touch of finesse to your visuals. Variable fonts are tech friendly providing smaller sizes for developers to work with, while also being responsive and used for motion design on the web. HD Colton key features: 3-Axis Variable Font. 90 Styles. 1200+ Glyphs Per Style. 5 Widths (Compressed, Condensed, Regular, Wide, Extra Wide). 200+ Languages Supported. Extended Latin, Extended Cyrillic, Greek Support. Stylistic Alternates for some key glyphs (J, Q, G, l, &, Arrows). Extensive OpenType features.

MyCRFT was designed as a custom heading typeface for Drew Maughan's IhNohMinecraft project. ABOUT THE PROJECT Beginning life in 2015 under the name Mascoteers, the project was an ensemble of small-scale characters built from LEGO elements. The challenge was in creating the different figures with the restrictions of existing LEGO elements, while being recognisable as individual characters. The project was initially well received within the LEGO community and with the general public, but was eventually ignored and even ridiculed in favour of LEGO's own BrickHeadz theme, launched in late 2016. It was rebranded IhNohMinecraft as a response to the deliberate cries of "Ih dih Minecraft?" since BrickHeadz' launch. The project has no relation to the popular game. ABOUT THE TYPEFACE The motivation to create MyCRFT was as part of establishing IhNohMinecraft as its own project, by giving it a new visual identity. The typeface could be described as a cross between the ones used for Gears Of War and Overwatch. I liked the boldness of the former, and the italicized straight edges of the latter. MyCRFT was intended to be used in its Black Italic form from the beginning, and was designed around the letters from the word MINECRAFT. Where I couldn't decide on specific characters, I've included the designs as alternative glyphs. I've also included the old "square" Mascoteers logo and the newer "head" IhNohMinecraft logo. MyCRFT is paired with Kanit on the official IhNohMinecraft web site. Let me know if you discover a better pairing! PROJECT LINKS View the IhNohMinecraft "reveal" playlist on YouTube. The official Mascoteers/IhNohMinecraft web site.

With Encercle Draft, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Draft is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Draft uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Draft will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not Powerpoint), Sibelius and more. Encercle Draft includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thicker, sans-serif style, check out Encercle Sans. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

With Encercle Sans, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Sans is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Sans uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Sans will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not PowerPoint), Sibelius and more. Encercle Sans includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thinner, classic architecture/drafting style, check out Encercle Draft. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

Introducing Enchanted Love - Elegant Sans Serif Typeface - 8 weights Enchanted Love is classic yet creative typeface loaded with 8 fonts, alternate and ligature glyphs to make you typography truly unique! Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol -Hairline, Extra light, Light, Regular, Bold, Extra Bold, Black and Heavy versions Cyrillic support ligature glyphs alternates Multilingual support - 95 languages No special software is required to type out the standard characters of the Typeface. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

An unadorned Grotesque with a refreshingly personal touch. If “Grotesque” mainly means “industrial, mechanical, anonymous typeface” to you, Klainy might redefine your image of the genre. Yes, it’s a Grotesque—but with a contemporary look and a lot of personality. Klainy’s apertures are more closed at the top and more open at the bottom, creating an informal rhythm that sets Klainy apart: a confident, optimistic voice with a clean appearance. Terminals are subtly back-bent: these quaint “hooks” make Klainy a bit more personal, a bit friendlier. (You can find them in the a, c, f, and r.) Just like its old-style Grotesque ancestors, Klainy is optimized for display sizes and short texts. There, its unobtrusive quirks can be wholly appreciated. However, the familiar Grotesque appearance makes sure that the typeface is comfortable to read in smaller sizes, as well. Use Klainy whenever a basically classic sans-serif typeface with a modern and individual twist is called for. This font family comes in eight weights ranging from Thin to Black, each with a matching italic style. More than 500 glyphs and a bunch of Open Type Features make it a reliable companion for all of your projects. You can fine-tune the flavor of Klainy with Stylistic Alternates such as a one-story a and a two-story g. Their simple construction blends perfectly with the design concept of this typeface. Klainy is a seasoned blue-collar worker that surprises you with wit and team spirit. It’ll be a great addition to your font library.

Haboro Squared is a formidable typeface, created for a variety of uses. Clean and consistent, it evokes the 1950s and 1960s. Haboro Squared conveys accuracy and utility with its clean, consistent strokes. In the 1950s and 1960s, designers and the general public began to reject the austerity of the war years in favor of a new sense of American optimism. This era is reflected in Haboro Squared’s gently rounded letters, playful alternates, and multi-purpose use. Whether you are creating a logo, crafting a website, or designing a magazine article, Haboro balances modernity with a hint of nostalgia. Haboro Squared achieves a balance between fashion and practicality. Even though it has an angular, modern design, it radiates friendliness and warmth. Haboro Squared works well for headings and brief texts. This collection of fonts consists of eight weights, from Thin to Black, each with a corresponding italic. Your design will seem robust and fashionable with so many options. Haboro plenty of alternate glyphs from which you can select an alternative or adjust the appearance of each letter. You’ve found a secret weapon. The Haboro Hyperfamily features a whole array of options, from Haboro Sans, Serif, to Haboro Didone. Take a look at the entire family. Even the most serious texts have a touch of whimsy thanks to the quirky alternate terminals in this multipurpose text face. Impress clients with your next branding package, web site, or magazine spread. Let the nostalgia of America’s post WWII heyday fill you with inspiration! Supercharge your next branding package, web site, or magazine spread with Haboro Squared!

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Slab is a modern slab serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Slab 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Slab" comes with 5 weights and italics; "Trakya Slab Alt" also comes with 5 weights and matching italics, giving a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one touch, easy to access in all graphic programs. Trakya Slab is the perfect font for web use. Enjoy using it.

Description Austen Aesthetic comes with an aesthetic style with a modern and elegant serif-type tagline appearance. This font comes with 8 thickness levels, from thin to black to suit your needs. Austen Aesthetic is also equipped with modern professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It pairs well with modern serifs and scripts pictured or stands firm as a title and brand representative for an elegant look. Austen Aesthetic also comes with multiple languages, making it easy to use for any country and language use. It also comes with alternative Ligatures and stylistics to make your designs more appealing. Austen Aesthetic is suitable for branding projects and various design purposes such as business cards, name tags, uniforms as a brand enhancement. Advertising, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. Supports languages: Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, 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, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu

In designing the Millenium® typeface, Patrice Provost was inspired by great typographers in the great French typographic tradition to create a unique and modern variable font. His goal was to reinterpret the mid-20th century sans serif style in a variable typeface that will conform to the need of the 21st century. He succeeded with mastery in drawing large characters. In doing so, patrice provost added an exceptional dimension to the design of this typeface, a graphic personality that evolves over the styles. The attention to detail brought to each letter, each accent, each diacritic, make this font a solid tool for all Western graphic designers and layout artists. With more than 1000 glyphs per style, Millenium® can be used in more than 210 countries. With its 13 styles drawn in Classical Roman style, in Italics and in condensed Millenium® provides designers from all walks of life with a fantastic tool to bring novelty and class to your creations. Ideal for signage, Millenium, thanks to its "wide case", is also widely used for posters. It is also a gold mine for creating logos for dynamic tech start-ups. The Millenium family is made up of designs with progressive weight changes. it is very extensive. It ranges from "Super Thin" to "Extra Black". Unique in the world, its thinness makes it possible to design a very light style even to print on posters and other large formats. Designed from the outset as a variable typeface, Millenium offers a range of 900 possible variations and an infinity of creations...

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

Arable Font Is "Unique Display Font" refers to a specific type of typography that is characterized by its distinctive, one-of-a-kind design, and it is typically used for eye-catching and decorative purposes. Here's a detailed explanation of what a unique display font is: -Distinctive Design: Unique display fonts stand out because of their distinct and unconventional design. They often deviate from traditional letterforms and can take on a wide range of creative and artistic shapes. Unlike standard, legible fonts used for body text, display fonts prioritize aesthetics over readability. -Specialized Use: Display fonts are not intended for extended reading. Instead, they are used in small quantities for headlines, titles, logos, posters, banners, invitations, and other design elements where visual impact is essential. Their unique and attention-grabbing design makes them ideal for drawing attention to specific text. -Creative Freedom: Designers have creative freedom when creating unique display fonts. This allows for a wide array of styles, from whimsical and ornate to futuristic and abstract. Some display fonts may be inspired by art movements, cultures, historical periods, or nature, leading to highly original and thematic designs. -Limited Character Set: Display fonts often have a limited character set compared to standard fonts. They typically include uppercase letters, numbers, and basic punctuation marks, but may lack lowercase letters or extended characters. This limitation is due to their specialized use and focus on visual impact. -Customization: Some unique display fonts are custom-designed for specific projects or brands. Designers work closely with clients to create a font that aligns with the brand's identity or the project's theme, ensuring a truly unique and tailored result. -Combination with Other Fonts: In many design projects, unique display fonts are paired with more standard, legible fonts to achieve a balance between visual impact and readability. This combination allows for a harmonious and effective overall design.

First Ladies is a unique collection of signatures of almost all of the First Ladies of the United States plus the First Lady of the Confederacy in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous women. This font includes 45 signatures for the following First Ladies: Martha Dandridge Custis Washington, Abigail Smith Adams, Martha Wayles Skelton Jefferson, Dolley Payne Todd Madison, Elizabeth Kortright Monroe, Louisa Catherine Johnson Adams, Rachel Donelson Jackson, Anna Tuthill Symmes Harrison, Julia Gardiner Tyler, Sarah Childress Polk, Margaret Mackall Smith Taylor, Abigail Powers Fillmore, Jane Means Appleton Pierce, Harriet Lane, Mary Todd Lincoln, Eliza McCardle Johnson, Julia Dent Grant, Lucy Ware Webb Hayes, Lucretia Rudolph Garfield, Ellen Lewis Herndon Arthur, Frances Folsom Cleveland, Caroline Lavinia Scott Harrison, Frances Folsom Cleveland, Ida Saxton McKinley, Edith Kermit Cardow Roosevelt, Helen Herron Taft, Ellen Axson Wilson, Edith Bolling Galt Wilson, Florence Kling Harding, Grace Anna Goodhue Coolidge, Lou Henry Hoover, Anna Eleanor Roosevelt, Elizabeth Virginia Wallace Truman, Mamie Geneva Doud Eisenhower, Jacqueline Lee Bouvier Kennedy, Claudia Taylor (Lady Bird) Johnson, Patricia Ryan Nixon, Elizabeth Bloomer Ford, Rosalynn Smith Carter, Nancy Davis Reagan, Barbara Pierce Bush, Hillary Rodham Clinton, Laura Welch Bush, Michelle Obama, and Varina Howell Davis (First Lady of the Confederacy). This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

a, g, k and y It was a forensic examination by Jason Smith of his existing designs that laid the groundwork for FS Jack. Jason made a list of unique characteristics that would give the sans serif font its typographic thumbprint, which included an unusually large x-height and slightly off-the-wall letters like the lower-case “a”, “g”, “k” and “y”. “I wanted to make something that was slightly uncomfortable,” says Jason, “and in doing so simplify the quirkiness down to a few letters.” Fernando Mello did “the rest of the cooking”, filling the design out and making the additional weights. Tipos Latinos Upon its release in 2010, FS Jack was submitted by Fernando, who is Brazilian, for the esteemed type design biennial, Tipos Latinos, where it was selected as a winner in the Families category. It went on to be selected for type exhibitions throughout Latin America and around the world. “FS Jack is a workhorse,” says Fernando, “but also very ownable and distinctive, and available in a good range of weights, crafted by Jason and I.” Corporate “FS Jack took a couple of years to get noticed and is still fairly underused,” says Jason, “which is good in a way, for our Brandfont clients that have adopted it.” FS Jack was chosen as the signature font for The Shard in London, from its signage down to business cards. Fontsmith also worked with Lloyds Bank to customise FS Jack into a bespoke font for the bank’s updated brand identity – part of Fontsmith’s Brandfont service, which you can read about here. Fat Jack Included in the FS Jack family – just – is FS Jack Poster, the super-heavy weight of the range. “That was a last minute addition,” says Fernando, “after Jason and I started talking about how much we liked Gill KO, a typeface that is almost comically fat.”

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/

• Composed of 3 sets: Normal, Compact, Expanded. • Consisting of 3 distinct optical sizes: Display and Text, Expanded. • Comprises 102 fonts • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Halenoir is a modern sans serif with a geometric touch that support for 28 languages. It comes in 10 weights, 102 uprights and its matching outlines, Obliques, pattern, so you can use them to your heart’s content, in each of which there are more than 801+ glyphs. Halenoir is composed of 3 types: Original, Compact, Expanded, and each is designed to be suitable for mobile, graphic, and editorial design. Halenoir comprises 102 fonts, consisting of three distinct optical sizes: Display and Text. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Halenoir and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Get in touch with Tipogra Fio and get inspired by Guaruja Neue specimens. Guaruja Neue is a neo-grotesque typeface with additional industrial traits to it, such as open corners in diagonal glyphs and short curves. The semi-cursive italics shapes, more than an orthographic matter, give sea waves for the headlines and copies that Guaruja Neue will compose, since it is named after a city on the coast of São Paulo, Brazil. Stylistic alternates, ligatures, ordinals, arrows and emojis give extra personality for texts that cross millennial and modernist concepts, going from a comprehensive Latin script, including Vietnamese support, until a basic Cyrillic set. Brazilian music tells the graphic story of Guaruja Neue specimens, songs that speak about beaches and the city of Guarujá, as well as the inspiration of 50’s and 60’s modernist design and the music movement of Bossa Nova. This family is also an evolution of Guaruja Grotesk (2021), a typeface with four fonts —Regular, Italic, Bold and Bold Italic— developed as part of a design school project, that now in Neue gains professionalism, refinement and knowledge. Guaruja Grotesk took 18 months to make, and Neue took additional 12 months of redrawing and rethinking, as design as processes. Part of the project got feedback from the typeface designer Ulrike Raush, under the Alphabettes mentorship program. Overview and features: 8 weights and 8 italics; 2 free fonts: Guaruja Neue Regular and Guaruja Neue Italic; Extended Latin and basic Cyrillic; 800+ glyphs; Numbers: proportional, tabular, superscripts, subscripts, denominators, numerators and fractions; Greek for math; Case-Sensitive forms; Arrows; Standard and discretionary ligatures; SS01: one story a and SS02: two story g; Emojis and SS03: negative alternate emojis; Ligatures for English ordinals;

Kosnat Trunks is a striking sans-serif display font that seamlessly blends retro aesthetics with a touch of modern design. With its wavy ligatures and a whopping 920 meticulously crafted glyphs, this font is a typographic masterpiece that will elevate your design projects to new heights. Key Features: Retro Charm: Kosnat Trunks exudes a delightful retro charm that harks back to the styles of the past, making it perfect for vintage-inspired designs. Wavy Ligatures: The unique wavy ligatures add a playful and dynamic element to the font, making your text visually captivating and memorable. Vast Glyph Library: With an extensive collection of 920 glyphs, Kosnat Trunks offers you unparalleled versatility in your design work. This includes uppercase and lowercase characters, punctuation, symbols, and special characters. PUA Unicode: Kosnat Trunks supports the Private Use Area (PUA) Unicode, ensuring compatibility across various platforms and applications. This feature allows you to access alternate characters and glyphs effortlessly. Multilingual Support: Whether your project requires Latin-based characters or extends to various international languages, Kosnat Trunks has you covered with its comprehensive multilingual support. Ideal Usage: Vintage Branding: Create eye-catching logos and branding materials for retro-inspired businesses and products. Poster Art: Craft attention-grabbing posters and promotional materials that demand attention. Editorial Design: Elevate your magazine layouts, book covers, and editorial spreads with this unique font. Packaging: Design packaging that stands out on the shelf and tells a compelling story. Web Design: Use Kosnat Trunks to add a touch of nostalgia and personality to your website headers and titles. Kosnat Trunks is not just a font; it's a design tool that empowers you to infuse your projects with a sense of nostalgia and style. Elevate your typography game with this versatile and captivating typeface.

Jan Tschichold designed Sabon in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the sixteenth century for inspiration, and the story has a complicated family thread that connects his Sabon design to the Garamond lineage. Jakob Sabon, who the type is named for, was a student of the great French punchcutter Claude Garamond. He completed a set of his teacher's punches after Garamond's death in 1561. Sabon became owner of a German foundry when he married the granddaughter of the Frankfurt printer, Christian Egenolff. Sabon died in 1580, and his widow married Konrad Berner, who took over the foundry. Tschichold loosely based his design on types from the 1592 specimen sheet issued by the Egenolff-Berner foundry: a 14-point roman attributed to Claude Garamond, and an italic attributed to Robert Granjon. Sabon was the typeface name chosen for this twentieth century revival and joint venture in production; this name avoided confusion with other fonts connected with the names of Garamond and Granjon. Classic, elegant, and extremely legible, Sabon is one of the most beautiful Garamond variations. Always a good choice for book typography, the Sabon family is also particularly good for text and headlines in magazines, advertisements, documentation, business reports, corporate design, multimedia, and correspondence. Sabon combines well with: Sans serif fonts such as Frutiger, Syntax. Slab serif fonts such as PMN Caecilia, Clairvaux. Fun fonts such as Grafilone, Animalia, Araby Rafique. See also the new revised version Sabon Next from the Platinum Collection."