Ukrainian humanistic sans of universal purpose. Thanks to humanistic proportions and somewhat calligraphic sharpness, the typeface unobtrusively disturbs the eye, while remaining at the same time a “strong” modern grotesque. Asymmetric motive, distinctive letters and alternative glyphs give the font a Ukrainian flavor. The character set includes Slavic Cyrillic, European Latin and Monotonic Greek. Humus contains traditional and original ligatures, numeral variants, fractions, stylistic and historical alternatives in Cyrillic. The typeface was designed by Andrij Shevchenko in 2007-2022

Explore everyday is authentic display three style font. You can take advantage of these with any program that supports OTF features. These can also be accessed via the glyphs panel in some programs. NOTE: Because the nature of overlapping glyphs alternates must be selected manually in the Outlines version from the Glyphs panel. Kerning is extremely tight and best displayed at larger sizes.Use it for sport, movie, game, racing designs, or nearly anything related to speed and power

Bitblox fonts are based on the lettering created for Glyfyx’ eponymous wooden alphabet blocks. The characters are inspired by the low-res bitmap lettering seen on early generation computer devices. The Bitblox family consists of eight pixelated fonts, including a trio of styles that stack up to create a colorful, dimensional effect. An extensive multi-styled dingbat collection is also included. The Bitblox lettering was designed by James Beall with PSY/OPS Type Foundry, for Glyfyx Inc.

CTM Sans is a typeface of the grotesk category, it is designed based on a previous Herokid typeface, but with greater freedom to creative tastes and at the same time with more rebellion and errors (quite a few, but well-intentioned) than its predecessor. This makes Bellavista a somewhat messy clone, for the grotesk style. This font does not seek to be a correct typography, but rather fun and useful for the designer. I hope you like it

The appearance of the 'IA War Bot' speaks for itself. It is a futuristic stenciled robotic font family that would be suitable for lettering comics, computer games, toy packaging, and the like. Many of the glyphs have alternatives. The widest set of font files, from Thin Ultra Condensed to Black Ultra Expanded, and the expanded character set (including Cyrillic) will satisfy all design needs. And the most demanding can turn their attention to the variable font.

Yalindha is lovely script font with swash on ending word. This font perfect for valentine & wedding theme design. Combine it with Tallove ending swash & Alternates Character to make perfect design for yor projects. Yalindha perfect for valentine promotion, wedding invitation, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. What's Included : - Yalindha Font - Multilingual Support --- Hope you enjoy with our font! Attype Studio

Fido Pro is the official font of dog owners everywhere. Woof! When the original Fido font was published in 2009, it became an instant hit with cartoon channels, comic book artists, toy makers, cereal packagers and game developers. Now, more than a decade later, we decided to pick it up and give it the Pro treatment. This new version boasts more than 800 glyphs, including 117 interlocking ligatures, plenty of alternate glyphs, and and Pan-European language support.

Spooky Grave is a chunky lettered and spooky display font. Add this font to your favorite Halloween-themed ideas: invitations, banner, advertising, logo, movie, poster, novel, app game scary or horror, and notice how it makes them come alive! No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. This font is PUA encoded which means you can access all of the glyphs.

Freezetide is a handwritten font with alternates, ligatures, OpenType features which give your design a natural handwriting feel with personality. Freezetide comes with 299 glyphs including multilingual characters, standard numbers, lowercase stylistic and standard alternates, discretionary ligatures for variety. Letters have jagged edges imitating dip pen writing. Using these ligatures allows you to give a realistic somewhat quirky hand-lettered look to your typography. Write the same word differently by combining the default set, alternates, standard and discretionary ligatures.

FF Meta® Georgian is based on the same humanistic shapes and proportions as the original 1991 FF Meta design. The narrow proportions, slight variation in stroke thickness and sheared terminals that are hallmarks of FF Meta are also present in the Georgian design. Each of the two weights in the family contain all the characters needed to set modern Georgian, as well as additional symbols for the Old Georgian, Megrelian, Svan, Abkhazian and Ossetian languages.

80’s technotronic meets out of this world style in Rutland AOE. From its beefy weight to its narrow counters, Rutland AOE started as a digitization of a film typeface called Maccaro by LetterGraphics. This bulky technotastic typeface was taken from its limited character set and fleshed out to include an expanded language glyph set. This interstellar alphabet funhouse screams electronica/house flyers, space games, alien invasions and more. Rutland AOE is ready to abduct your designs.

Carmen Sans is a Geometric Sans that expresses modern vigor based on simplicity and clarity. The Hangul font is designed to deliver the same tone as the Latin font with its light curvature and structure, and it is suitable for display purposes by arranging letter heights between the two character sets. With the total of 9 styles, Carmen Sans works seamlessly in a variety of media and omnidirectional graphic designs, from editing to integrated applications for your brand.

Salda Soft; It is a modern sans serif family that blends old and new generation sans serif fonts in the same body. It has a wide usage area with its light narrow structure, soft and clean lines, humanist touches. It provides clean and smooth visuals in vertical screens, mobile applications and block texts. It consists of a total of 20 styles. Ideal for all kinds of editorial design, packaging, corporate identity, brand, application, web and desktop.

BR Firma is a geometric sans serif consisting of 8 weights ranging from Thin to Black with matching italics. It supports an ‘Extended Latin’ character set that covers over 200 latin based languages. BR Firma provides advanced typographic support with features such as case sensitive forms, fractions and slashed zeros. It comes with multiple figure sets and is ideal for print, advertising, publishing, branding, software and gaming as well as being optimised for web and screen design.

Inspired by the first wave of the industrial revolution back in the 60s. The glory of steam and steel machines in manufacturing technology. Atompunk was referenced from the science-fiction visual of the retro-futurism mindset—the imagination of nuclear-based technology for every human need. Perfectly fit for sci-fi movies, serials, technology-based branding, poster, logo, vintage illustration, packaging, snack, event, festival, album artwork, cover artwork, books, toys, games, arcades, cards, automotive, and many more.

Mr. Dj Signature is a script typeface specially designed for signature fonts. With a balanced thickness, it is also suitable for various lettering purposes, such as greeting cards, invitations, branding, crafts, wedding decorations, even looks good for text. Mr. Dj Signature comes in two variants, regular appearing like calligraphy and monoline with the same line thickness. both are equipped with several ligatures, alternates and 3 signature swashes placed under the underline character (_) . Happy designing with Mr. Dj Signature.

MuskitoCaps is a Tuscan (split-serif) font that is rather narrow and a bit awkward. It is caps only, though the lower case differs from the upper case(the lower case lacks the mid-stem spike). The family has three styles, plain, shadowed, and shadowinside. The last has the same shapes as the plain style but has the spacing of the shadowed style so it can be layered with the shadowed style to easily produce bi-colored lettering.

Mellnik is a sans serif of humanist style (in a way) that was developed by Oleg Karpinsky for ParaType in 2006. The type family contains nine styles with a number of alternate characters in each ones. For use as a text font in long text passages of advertising booklets, catalogues or magazines, as well as for accident setting. Mellnik may be also applied as a corporate typeface. Five condensed styles were added in 2007 by the same designer.

Hey there! I'm happy to introduce to you my new ethnic-based font. Hurray! It was long and hard work because every glyph is unique. I sketched each letter of the font. Each letter is uniquely designed and has nordic folk art in the background. What you will get: Filled and Regular styles Icons and patterns font Uppercase (lowercase glyphs are same) Numbers and symbols Multilingual support Please feel free to request to add characters you need: kaer.pro@gmail.com

Crowd Funded fonts wasn’t really crowd funded… In fact, all of the funding came from me, as I had to buy paper and a new pen to get this font going! Crowd Funded is an all caps display font, which I based on a recent font of mine called Longreach. Crowd Funded is narrower and rounder than Longreach and, in a way, more delicate. It comes with a generous amount of diacritics and basic Cyrillic as well!

Virtuosa Classicis the 21st century OpenType re-release of a classic Hermann Zapf design, his very first script typeface, Virtuosa. Based on the same sketches that would inspire Zapfino 50 years later, Hermann Zapf developed Virtuosa in 1948-49. It was originally released in metal in 1952. Virtuosa nova is an English copperplate script with character. The font includes two form variants for each capital letter, and there are a number of lowercase alternates and ligatures, too.

Danki, our newest font, is a display typeface created with natural hand strokes and a joyful and playful background. This typeface has two alternates for each character, making it simple to select the appropriate character for each of your unique projects. This font is ideal for usage in a variety of unusual graphic projects, including games, book titles, outdoor activities, posters, banners, quotes, branding, and other unique projects. So, what are you waiting for? Get this font now!

Jeenull is a distinctively appealing typeface with a thick character that gives a distinct impression ideal for a variety of serious and casual applications. What are you waiting for? Get this font and enjoy the beauty of letter combinations in words that you may use in a variety of projects. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. Start using our fonts for your amazing projects.

Introducing Qinzy - Inspired by typeface on 70s era, Qinzy has the vintage font & retro font style. with 3 font style, It's super easy to use 3D effect wint Qinzy family font. Three style Font: Handwritten, texture & Extrude Qinzy is perfect for children product, branding, logo, invitation, stationery, product packaging, merchandise, monogram, blog design, game titles, cute style design, Book/Cover Title and more. Features : - Qinzy - Qinzy Extruded - Qinzy Rough - Multilingual Support --- Hope you enjoy with our font! Attype Studio

Looking to take your design game to the next level? Look no further than Auzhera Brush Font! Handmade from a real analog fude brush pen, this stunning handwritten font boasts a unique brushed texture that adds a natural, hand-written feel to any project. From bold headlines to understated designs, Auzhera Brush Font’s versatility is unmatched. Crafted with meticulous attention to detail, this font is perfect for creatives looking to add a touch of personality to their work.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell. Offering contrast and balance to the square structure, Sánchez Slab is a new version, more robust with straight edges, that give greater character and power. Sanchez Slab comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

Sometimes you need things organised in a neat way. Organic Tuesday has that, but also a will to break free at the same time. Years ago I was at a restaurant where the menu was handwritten with a clumsy, but characteristic and charming, monospaced font. I must have focused so much on these letters that I can’t recall what I actually ate. But what I do remember is that it was a Tuesday, and the restaurant was organic!

Vedacity is a sophisticated glamorous script font, with modern calligraphy style that you'll hard to resist like the nowadays trend. Inspired from the society behaviour who always craving for the trends but still want to show something different yet special from it. Yes, that's why it came with a bunch of Stylistic Alternates of each letters because everybody loves a choices, in a pack. And also the Ligatures for every double letters to get the seamlessly handwritten looks.

Introducing Boxtoon, a lively comic font with a bold, modern-retro twist. Bursting with fun, it seamlessly blends the nostalgia of classic cartoons with a contemporary edge. Boasting 16 versatile styles, this multilingual marvel supports Cyrillic characters. Perfect for dynamic displays, comics, posters, book covers, and playful designs like t-shirts, games, and digital crafts. Embrace the whimsical charm that Boxtoon brings to kid's books and beyond—an all-in-one font for your creative adventures! **Uppercase

Proudly Present Arfelick Feather. This Fonts Comes is a bold connected script font with a clear style and dramatic movement. Every single letters have been carefully crafted to make your designs looks better. inspired by urban script fonts with beautiful letters that create fonts that are modern, tendy and elegant. Arfelick Feather came with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Best Regards Ergibi Studio

Markisa is a simple, cool, and dynamic Humanist-flavored Sans Serif type family. It consists of eighteen weights from Thin to Black in both Upright and Italic styles. The resilient yet robust typeface. A san-serif with a humanist touch, a steady combination of seriousness and merriment. Works well as texture in small sizes, while at the same time claiming its space on the display. With its distinctive characteristic, can catch anyone’s attention wherever and whenever.

Bronzier is a strong serif display family with 8 different styles. Bronzier was designed with a strong and sharp serif which gives it a more manly look. Sporty, vintage and modern taste at the same time which mean you can use this font family for many design styles. Inspired by old-school typography and modern style. Create a perfect design with Bronzier! Because Bronzier is suitable for logos, logotypes, apparel, jersey, tags, labels, posters, stickers, branding and more.

Grunge is not dead! Neither is punk! The proof is the Overbeat font! It has got both grunge and punk in the one and same. The letters are grungy, and punked up with a sort of halftone slime effect. It's hard, it's tough and perhaps even scary! Play around with the font and you'll quickly notice the variety of the font. Each lowercase letter has 4 different versions and there is ligature substitution for most common uppercase double letters!

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Step back in time and relive the glory days of arcade gaming with Joystix, the authentic retro game design typeface that brings the spirit of the 1980s straight to your fingertips. Inspired by the iconic pixelated fonts of the era, Joystix captures the timeless charm of classic video games with stunning accuracy. Created with a meticulous attention to detail, Joystix is the perfect choice for any designer looking to infuse their work with a touch of vintage flair. Whether you’re working on a retro-inspired project or simply want to add a touch of nostalgia to your designs, Joystix delivers a stunning visual impact that’s sure to delight. Available in two distinct styles, Joystix Monospaced and Joystix Proportional, this versatile typeface gives you the flexibility to choose the aesthetic that best suits your needs. If you’re after an accurate retro game feel, opt for Joystix Monospaced. Alternatively, if you prefer elegant, proportionately spaced headlines that take up less space, Joystix Proportional is the perfect fit. So why wait? Give your designs a touch of retro charm and explore the limitless possibilities of Joystix today! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

Joachim Müller-Lancé's Uppercut is a rather sporting fellow, originally developed for the Krav Maga training center of San Francisco (Krav Maga is a simple and efficient self-defense system that has become equally popular in Hollywood and with law enforcement). Joachim has spent several years training, hitting things and people whenever he needs a break from kerning. Uppercut can be seen on the school's t-shirts and other articles. Despite bearing the same moniker as an upwards punch to the chin, the name actually fell together quite naturally as Uppercut is an all uppercase typeface, and the word "cut" is also historically used to describe a type style in hot metal type. For this slanted look, "Angle" felt just right (with thanks to Mia McHatton). The design idea sprang from pencil sketches for the center's new identity. Uppercut's shapes are not calligraphic or handwritten, more like lettering seen in comics or sports logos. Its brush movements are imaginary, not too literally brushy. During development, details were simplified and reduced until a bit of a cut-paper feel emerged, but more fluid like writing. The shapes are economical and efficient; simplicity makes the font versatile, holding up in small as well as big sizes. Uppercut is decidedly analog, muscular but not bulky, with the fluid but determined movements of a boxer or martial artist - not theatrical but powerful, fast, confident and dynamic. Well... it has punch. In the proportions, there is emphasis on a strong upper edge "keeping its guard up", while several stems protrude downward, giving the impression of leaping or being "light on the feet". Use Uppercut to pick up the pace, add snap, verve and drive - on movie posters for action and adventure, to advertise your dojo, rumble or prizefight, racing team or tuning shop, or invite friends to your barbecue with old time rock'n'roll and homemade hot pepper sauce.

Plakato, a stencil love affair Plakato is a family of display fonts, consisting of various eye-catching styles, each of them very bold. Plakato is an identity toolkit, a heavyweight building block in case you need a strong personality, a small stencil font family to cut out your best ideas and grab all the attention. But just as with many other creations, its outcome is as divers as its multiple origins. Plakato comes in 16 eye-catching styles. The default stencil style comes in Regular & Italic. They both have 2 variations: one version, named Plakato Stencil, automatically creates borders around the text, putting any text into a graphic stencil in this way. Another version, the extruded three-dimensional version, guarantees even more attention for your message. Next to this there is also the Inline version, which is an optical play with a lot of lines. Plakato Inline has a supportive background layer, a separate font in case you want to add a background in a different colour. Then there is Plakato Paper, a manually teared version of Plakato offering a more physical look. This small family of eye-catching display fonts also contains a Neon font, an independent design in Plakato style, which can actually be used for making neon signs due to its construction. Plakato Neon comes with its own Dingbat font for that extra flush-flush. Plakato has also been redrawn on a C64, and with all its accompanying limitations been ported back and turned into a font: Plakato Game. Also this font comes with its own Dingbat font, full of emoji’s and icons for oldskool pleasure. Last but not least there is Plakato Build, constructed out of blocks. As if that wasn’t enough, there are various dynamic versions in the Plakato Play package, which offer a whole new range of possibilities for typographic expression, with new animation and interaction opportunities.