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ZILETTI POP is a font used by Girolamo Ziletti in Venice in mid/late 1500. A typographic caracter characterized by a Venetian style cage with slight geometrical imperfections but with a great perceptual level. This is a multilayered variant with a wide range of possibility in variations in terms of end results. With the use of the color your artworks will have news optical effects. Ideal for Covers, Posters, Logos…

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.

This modern display typeface expands the Absentia collection with an impactful option for headlines, titles and logos. Graced with the geometric DNA of its distinctive lineage, the new addition emerges as a refreshing alternative for large size typesetting. Absentia Display borrows design attributes from the Sans and Slab families, in the form of slanted finials (‘a’, ‘e’, ‘C’) and one-sided serifs (‘b’, ‘F’, ‘H’). But in contrast to its relatives' measured restraint, it distinguishes itself with uninhibited boldness. Featuring stencil face breaks, basic glyph components are either abridged or completely omitted, as the shoulder of lowercase ‘m’ or the diagonal stroke of capital ‘W’. Modular letterforms set this typeface apart with a stylish appearance; round diacritic dots (‘i’, ‘Ü’) and curved transitions (‘E’, ‘L’) breathe a lighthearted attitude. Designers can scale up and go loud with Absentia Display, available in ten weights with matching italics and two variable fonts. From the refined Hairline to the robust Black, this versatile family serves a wide range of needs and styles.

Spekta is an unorthodox Neo-Grotesk typeface devoted to versatility and beauty. Originally designed as an all-caps display typeface influenced by Bauhaus and early grotesque forms, Spekta switched priorities and evolved into a well-equipped 8-weight workhorse boasting 667 characters and italics to boot. Spekta’s focus on condensed forms and a greater x-height and cap height difference compared to typical Grotesque types allows for increased legibility at smaller sizes while utilising less horizontal space. Despite this, Spekta respects its display-type roots with elegant forms influenced by a mix of early and modern Grotesque typefaces and countless trial-and-error. Additionally, two sets of diacritics (marks such as acutes, graves, circumflexes, and so on) have been designed to further improve readability and reading flow, an atypical feature for most typefaces. Spekta is devoted to versatility, handing control to the designer with 8 stylistic sets (that only affect a single character and not a group of them), 4 number sets, true superscript, subscript, and scientific subscript characters (unlike what design softwares generate), ordinals, alternative and full-width characters, and much more.

Gin And Tonic is a classical serif typeface family. In a cocktail of soft arches and sharp corners, this traditional type has a multifaceted flavor, just like a well-balanced drink. Inspired by turn-of-the-century quality produce, Gin And Tonic is a genuine victorian typeface, that brings class and authenticity to any graphic project. The type of lettering that could be seen in an old-west saloon. This serif font is provided in eight styles: Thin, Regular, Bold and Thin Italic, Regular Italic, Bold Italic. As well as the Outlined style and its complementary Outline Italic. Write in CAPS for decorative conjunction words. Example: Gin AND Juice, Bird OF Prey (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Say hello to Retro Mango! The font that's as chunky as it is funky! Retro Mango is all about playful, bold vibes, with a dash of cuteness that's hard to resist, thanks to its soft corners. This font is like a friendly face you just want to hug, and it brings that fun-loving spirit to your designs :D Plus, you get three family styles to choose from: Regular, Bold, and Extra Bold to helps to create stunning logos, quotes, posts, blog posts, branding projects, magazine imagery, wedding invitations, and much more. What's Included? Retro Mango Main File Regular, Bold and Extra Bold version Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thank you Dharmas Studio

Eurostile® is one of the most important designs from the Italian font designer Aldo Novarese. It was originally produced in 1962 by the Nebiolo foundry as a more complete version of the earlier Microgramma, a caps-only font designed by Novarese and A. Butti. Eurostile reflects the flavor and spirit of the 1950s and 1960s. It has big, squarish shapes with rounded corners that look like television sets from that era. Eurostile has sustained the ability to give text a dynamic, technological aura. It works well for headlines and small bodies of text. The Eurostile font family has 11 weights, from roman to bold and condensed to extended. In 2009 Linotype released a revised version in the Platinum Collection under the name , with three weights in all three different styles. And additionaly there are now new weights for the Eurostile family as , and ."

Bordonaro Script - Bordonaro Spur’s partner - is an interpretation of the “English Roundhand” style with a strong influence by the logos of American basketball and baseball teams. It is designed from simple shapes ideal to be used in long titles and fits perfectly into the branding design. Psss...Check out the NEW Bordonaro Script with Rounded corners , same version but soft! Bordonaro has a complete set of special and original characters: Stylistic Ligatures, Discretionary Ligatures, Swashes, Contextual Alternates, Titling, ss01,ss02, ss03 & apostrophes' ligatures that work as complements to enrich the text composition. Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

The Rocaie fonts are base on antique Rococo letters from an gilding workshop. I was very lucky to acquire this set of metal letters in early 2018. Each of the letters has ornaments engraved by hand into its cast brass shapes. When drawing the digital outlines, I tried to preserve the handmade look of the original leaf engravings. Each of the letters uses a slightly different ornament pattern: no pattern is repeated identically. I expanded the very limited character set of the original, adding all the missing characters that today’s commercial fonts are expected to contain. I made additional font styles to easily add colour layers, outlines, and 3D shadows to the typeface. It’s up to you to decide how to “build” your colour font! You can combine the predefined font styles Regular, Pearl, Solid, Outline, and Magnum with each other, or with the Fill font styles. But you don't need to use all font styles to compose something nice! Have as much fun as I did with this Baroque beauty and enjoy the vintage.

Aston Script is a calligraphy script font that comes with very beautiful changing characters, a kind of classic decorative copper script with a modern touch, designed with high detail to bring stylish elegance. Aston Script is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of viable style alternatives for many letters. The classic style is perfect to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or any type of advertising purpose. Aston Script has 1330+ glyphs and 1039 alternative characters, including various language support. With OpenType features with alternative styles and elegant ligatures. The OpenType feature does not work automatically, but you can access it manually and for the best results needed for your creativity in combining this Glyph variation. ? New Update, Now the Aston Script font has been updated or has two styles with the Aston Script Bold version.

Gradl Highstep is an archetypical Art Nouveau face by the prolific and mysterious Max Joseph Gradl. It epitomizes the visual language of elegance and sophistication. It seems strange that so little information is available today about Max Gradl: He seems to have been well known in his day. In addition to his jewelry design, he did advertising work for customers in Naples, London and New York in addition to customers in cities all over Germany. Gradl Highstep is an all-cap font with a wide range of ligatures: 094=SA, 123=CH, 125=CK, 126=TS, 167=FA, 172=PA, 177=TA, 188=WA and 190=YA. In addtion, 137=Gradl’s dated monogram “MJG 1903,” 175=LLC abbreviation, 181=alternate S. This is a subtle font with thin, variable strokes. It is best used at 28 points and larger to give it the presence it needs to be be appreciated. Gradl Highstep Initials is a companion font, incorporating a deft line drawing of a fashionable woman of the period who is every bit as elegant as the underlying font.

Bronto is a typeface that mutated many times: it went from being morphologically conventional, to have soft features, to finally have some inverted contrasts that made it more dynamical; but all this without losing sight of the meaning of a typefamily, and the aim pursued by this work: Bronto doesn’t behave as a piece of art, but as a tool. In some weights, this typeface possesses fluffy characteristics and is boldly bighead, while in other versions is slightly contrasted and controlled; this in order to maintain the essential features of the typefamily along the versatility and usability of the 20 variations that composed it. Bronto it’s inspired in neo humanists typographies of the 20th century, and in Chilean lettering. This kind of work was made by the spontaneity of the paintbrush, which gave an inverted contrast to some characters. This typeface has plenty of OpenType features, specially an extensive set of ligatures in all weights. Bronto is well suited for motion graphics, letterings, web, advertisings, magazines and books.

This typeface appears to be straight out of a science fiction movie thriller. Mingo is a slightly condensed, somewhat vain gothic with thick vertical strokes proudly tapering downward. Capitals which are normally completely round are now square inside with curving outside corners. Lowercase letters carry the same design traits. And, in the capital A and H, crossbars extend on both sides helping give the face a pronounced retro look. Mingo Gothic is a close cousin to Raleigh Gothic and is an excellent choice for book covers and large display settings. Small caps, fractions, and alternate characters have also been developed for greater layout versatility. Mingo Gothic Bold is now available in the OpenType format. Some new characters have been added to this OpenType version as stylistic alternates, historical forms, small caps, oldstyle figures, ornaments, and f-ligatures. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

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.

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.

This set of typefaces was produced in conjunction with the Guggenheim Museum and the Josef Albers Foundation. Josef Albers was one of the most important artists and educators of the twentieth century. He was a member of the Bauhaus first as a student and then as a teacher from 1920 until its closing in 1933. He then moved to America, where he continued making art and teaching at numerous institutions until his death. Known principally as an abstract painter, he was also an accomplished designer, draftsman, typographer, and photographer. His works explore permutations of form, color, and perception using a restricted visual vocabulary. Created when he was at the Bauhaus, his Kombinationschrift alphabets exemplify the school's ethos. Using 10 basic shapes based on the circle and the rectangle, he created a system of lettering that was meant to be efficient, easy to learn, and inexpensive to produce. These 10 shapes in combination could form any letter or number. The letterforms of this computer version were taken directly from Albers' drawings and notes.

The Slatz Font Family is Vertical. It has a slender, consistent weight that is best used in limited, left to Right, space limitations as to maximize font height. Slatz font variations all have extremely clean edges and even the serif versions are crisply defined with a flat-pointed serif for an added unique character. The designed intent was for a tight kern, however evenly letterspacing these family members give a distinct personality and continues to command the negative space just as in tight kerned examples. The compatible relationship of these font family members, serif to sans serif, and regular to italic is seamless and the overall design coloring of words as sentences is well balanced and extremely legible. The Slatz Family fonts are matching members glyph to glyph yet there is a noticeable difference between the serif and sans serif members. The sans serif works in contemporary and vintage settings. The serif members work particularly well in vintage, period applications. The Bold and Drop versions of Slatz also fit the above descriptions and also work on their own.

SuperLine Typeface. A striking modern display font in three styles. SuperLine is a modern, all caps display font. Specifically developed for contemporary design styles and applications, it is supplied in three styles; regular, lined and outline. Although it can be used at smaller sizes, it has been designed primarily for use at larger scales. Perfect for branding projects, striking posters and as a unique display font for web or app development, you can make a statement with SuperLine. Extensions shape backgrounds are included. Designed to compliment the angles in the SuperLine typeface, these shapes are perfect for using as masks, image overlays or solid color background fills. They are supplied in Illustrator (ai and eps) vector format. Whats Include: Meticulously designed All uppercase display Comes in 3 styles, Regular, Lined and Outlined Allows for a vast range visual styles Webfont kit included (created via fontsquirrel) Licensed for Personal or Commercial use (OFL) Vector Extensions included (In Illustrator vector format) As ever, drop me a message if you have any questions.

A tessellation is a shape that can be used to completely fill the plane without gaps or overlaps—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. TessieSomeMore has two family members, a solid style that must have different colors to be useful and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes in TessieSomeMore are Escher-like. Over half are either bug-like and bird-like shapes. There are also a few animal and other object shapes as well as some geometric or abstract shapes that have visual appeal.

Chercán is a spirited typeface created with a delicate sense of how readability doesn't need to be dull. Chercán wears a uniquely friendly voice, and its mature design makes it highly legible in small bodies as well as in the distance. Its balanced rhythm is the result of a slow pairing of qualities found in old classics admired by Gálvez, such as Copperplate by Frederic Goudy (1905) and Antique Olive by Roger Excoffon (1962). Chercán occupies a unique place in the contemporary type design shelf, by exquisitely combining versatility and elegance. Due to the delicate grey colors it gains within long texts, Chercán is good for immersive reading, where one wants to avoid readers’ eyes fatigue. It can be a great choice for setting texts that require a slightly informal atmosphere without losing authority. Chercán is the Chilean name for the melodious little bird Troglodytes aedon usually found all across the Americas. Available in Std and Pro versions with all the usual OT features, Chercán addresses all modern needs of the demanding typographer.

Mariachi is a new condensed version of our Maison Luxe font which is a revival of an old 1800's classic ornate French font. This new 2021 condensed version takes this old classic to an all new level by adding small caps, italics and a new solid black version. Mariachi is perfect for headlines and logos from advertising to product labels, t-shirt lettering and restaurant menus. Fill fonts are also part of this family, new to this font style is the half fill font for creating a two color effect on the letters, you'll need an application that works in layers to use the fill fonts in Mariachi. The regular fill font for Mariachi isn't meant to be used as a stand alone font so we've created a solid black version with thicker serifs on top and adjusted outlines throughout for a better appearance as a solo font. The difference between Mariachi and our Mi Casa font is that Mariachi has a squared off shadow on the top half of the letters. We hope you enjoy Mariachi as much as we did making it. Mariachi is a trademark of FontMesa LLC

Astral Night - A Blackletter Typeface is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Astral Night with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more)

Avimode is bold, sharp, and futuristic. An original CubicType design with a design inspired by the holes and tracks on printed circuit boards. Text set in Avimode fills almost all the space available to it, and has small details. CubicType therefore recommends using this type at large sizes and with processes that are faithful to its fine details. It would look great cut 2 metres high on the side of your galactic spaceship. Please be aware that some of the lettershapes have sharp pointy corners: HANDLE WITH CARE!

Skapa is all about creation (translation from Old Norse: "to create"). It's simply the font I always needed and wanted. A well balanced, modern with delicate round corners sans serif, comprised of 5 weights with matching italics. Great for varied graphic design projects and perfect for logos and headlines, print art, billboards etc. Extended support for Central, Eastern and Western European languages. OpenType layout features: Fractions, oldstyle figures, ligatures, slashed zero, superscript, subscript, numerator, denominator and combining diacriticals (Mark Positioning) plus tabular figures for standard figures ,oldstyle figures & currency symbols. Think. Design. Create.

Child Witch - Halloween Font is a display font that is inspired by horror style because its shape is very unique and is perfect for any project that you will use with this theme. Child Witch came with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more)

Sébastien Truchet designed a modular typographic system during his last year in the School of Fine Arts of Besançon. The system is made of a unique grid and 6 modules which are the components to build several typefaces. The most radical is the "2-2". The last one is the "10-12". This is the 4-4. It is built into a square grid. Four modules in width and in height. This font proposes to you two appearances : the caps are blackest and the small letters are more open.

About family “SaetaPro” Wind games… The name is taken from an old paper toy made by someone who makes paper planes with teasing messages. But there are also songs with a strong feeling in flamenco style. It is also a way of expression in order to give way to emotion and interpersonal communication. They are wind games that people have been playing for a long time ago!!! This series is composed and includes twelve fonts with 632 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

NuOrder is a modern-day sans-serif typeface with humanist bones. The design incorporates a dynamic structure with minimal contrast and a natural stroke path to promote easy reading—resulting in a warm well-balanced typeface best suited for a wide range of applications in a hi-tech era. Details include nine weights with matching italics and over 550 characters per style. Opentype features consist of five variations of numerals, including inferiors, superiors, fractions, alternate lowercase a and g, and language support covering Western, South, and Central Europe.

Oceanshore is a modern display sans typeface with stencil characteristics and based on geometric shapes. That when combined gives the font a retro-futuristic look and makes it ideal for big and catchy editorial headlines. The family includes 6 styles, from Thin to Bold, each of them in a wide variety of alternates and ligatures that provides the users with a number of choices when composing. Each font comprises more than 550 characters and supports over 200 Latin languages. Seashore is well-suited for headlines, short text, posters, flyers and so on.

Palaima is a geometric display font, its name means word-image and is inspired by our aboriginal pictographs, Palaima was created to compose texts informal, where each character is an entertainment, featuring several variations of this font letters to make more enjoyable composition. Palaima has a set of characters that include swash, stylistic alternates, ligatures, fractions and twenty funny icons. Palaima was selected in the third Biennial of Latin American Typography "Tipos Latinos" also was honored by the Ruben Fontana's JournalTipográfica of Argentina "Best Latin American Typographic Creativity".

Stencil™ was designed by Gerry Powell for American Type Founders in 1938. It's a faithful imitation of a stenciled alphabet, much like those used on boxes and crates, with rounded edges and thick main strokes. The font is composed of capital letters and figures; there is no lowercase. Use Stencil™ for graphic designs that call for a rough-and-ready look, a military look, or even to create real stencils for signs and marking boxes or luggage. Alexei Chekulaev made a Cyrillic version of Stencil™ in 1997.

Inspired by a small fragment of sign-written lettering, discovered by accident, Snag is a robust mono-line font with small, pointed tips on its terminations. These embryo serifs are inspired by the legacy of a sign-writers brush, and add an overall texture and character to this, otherwise minimalist, style of lettering. Snag has a warm and traditional feel with a modern clarity. A strong component for a multitude of graphic design functions, including packaging, shop fronts, bar signs, advertising and clothing. Snag features a large glyph set, suitable for Latin-based languages worldwide.

"Rhinos Pero" is a quirky graffiti font that embodies a playful and unconventional style. Fonts in this category often feature eccentric and unique letterforms, incorporating creative elements that deviate from traditional typographic norms. This particular font might showcase irregular shapes, whimsical characters, or unconventional design traits, offering a distinct and unconventional appearance. With its quirky attributes, "Rhinos Pero" is suitable for designs aiming to convey a fun and offbeat visual impression. It could be applied in various creative projects seeking a playful and distinct graffiti-inspired typographic style. **Uppercase

Introducing a bold and uncompromising sans-serif font that refuses to bend or sway. Its angular curves and sharp corners give it an air of authority and strength, while its bold weight demands attention and respect. This font is perfect for designs that require an unyielding, no-nonsense attitude. With its right angles and minimal curves, it embodies a stark and severe aesthetic that leaves no room for ambiguity or indecision. Its austere personality is sure to make a lasting impression, making it the perfect choice for projects that demand an authoritative and uncompromising presence.

Daniel Berkeley Updike seems to have stimulated the architect Bertram G. Goodhue to design the prototype in 1896 for Ingalls Kimball at the Cheltenham Press. Six years later Morris Fuller Benton at ATF developed it into the design and then the series that we know today. “Owing to certain eccentricities of form,” writes Updike, “it cannot be read comfortably for any length of time.” But he concludes: “It is, however, an exceedingly handsome letter for ephemeral printing.” Mergenthaler bought composing machine rights to the original design c. 1896, but bought the Benton design in 1904.