Like a figment of the imagination, this very readable font wafts across the page, leading the reader into a world of enchantment. Ethereal and fluid, it is reminiscent of sorcerer's spells written on ancient parchment. It manages, by the distortion of its characters, to transform a simple serif font into something quite different. Wavy outlines and an uneven baseline create an impression of fluidity and magic, while retaining the essential clarity of the classic serif body font. Use Figment for: -- Children's books -- Halloween advertising media -- book covers -- movie titles -- swing tickets -- posters Figment is available in two styles, Figment Regular and Figment Force (a wider and bolder style) The font has been professionally letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

Parca is a straightforward new take on the classic tradition of Grotesk sans, setting a new standard in the category. The letterforms are crafted with a gentle and careful drawing process that features small details like subtle tappering on the stems and optical corrections avoiding excessive geometry artefacts. Parca is indicated for design projects and branding when you are in the need of a neutral yet warm feeling allowing the content to be the focus and letting the forms to support it. A careful kerning and spacing features have been develop for the font, allowing it to be used either for small text or huge headlines. Parca is presented in a robust family of five weights plus matching italics and it supports most of the latin-based European languages.

Silentgraph is a script font made from handwriting in lovely designs to make your designs prominent. Every stroke expresses beauty and cursive styles of which letters are interconnected. Details of each letter show curvy wipes and high contrasts on its edges. Use this font for big-sized texts to be legible. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Silentgraph fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

This font is the result of merging my architecture background and my love for typography, which inspired me to create a system of fonts based on interior architecture design, furniture design and, especially, the love I feel for my home. The system comes with a monolinear style in sans and script versions, each including 5 weights, that share similar proportions, weight interpolation and details. Hogar is basically a sans with script gestures and a script with sans shapes. In order to make the system more complete, I included an italic version, also in 5 weights, which represents a transition between both main styles. Additionally, I developed a set of monolinear dingbats including some furniture designs by well-known architects.. The family supports more than 200 Latin derived languages.

Kobely is a reproduction of a local broadcaster's real handwriting. My daughter thought her boss's handwriting was so neat and uniform, it would make a great font and asked if I would be willing to create it. I agreed. She had him write out all the basic characters, which he gladly did with both a standard ink pen and a Sharpie¨ marker. I then turned it into a three weight family, perfect for use on post-it notes, shopping and to-do lists - anywhere you need the natural feel of real handwriting. I created it in various weights to spare you from adding a stroke to make it bolder. Adding a stroke can often compromise the small details of a font. Kobely is designed to be readable in even the boldest weight!

Houschka Rounded Alt is a carbon copy of the Houschka Rounded family with one key difference: the rounded signature glyphs A & W on the default positions swap places with their straight alternates. Houschka was named after Georg Houschka, a sadly defunct confectioner’s shop in Salzburg, Austria, which had a wonderful 1930s frontage and distinctively rounded letterforms in the sign above the door. OpenType features include CE, Baltic, Turkish & Cyrillic language support plus small caps, 3 stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka Rounded Alt is a clean and legible modern sans serif typeface which shares the humanist qualities of Gill Sans and Johnston but retains a uniquely charming character of its own. The monolinear structure, rounded terminals and rolling curves give Houschka Rounded Alt a soft and friendly appearance.

Xmas Wishes Font - A collection of 55 calligraphic Christmas greetings and 10 Christmas dingbats. All handwritten with different tools like broad nib pen, pointed pen and brush pen which allowed us to create diverse styles. The letterings are written in different languages; English, French, Spanish and Italian. Add the beauty of calligraphy to your layout and create unique gadgets for this Holiday Season like posters, greeting cards, wrapping paper, tags, and much more! You can also use the designs as photo overlays for your blog or social media content. Open the images to see all the details AWESOME FEATURES 'Font in .otf .ttf' '55 Handlettering Xmas words' '10 Hand-drawn Xmas dingbats' 'Languages in use English, French, Spanish and Italian' 'We highly recommend Turquoise Font to combine with the letterings.'

Town is a display collection inspired by art deco and contemporary lettering. The fonts have a classic feel, with contemporary proportions, styling and details. There are eight base weights and nine decorative styles in multiple weights. The variety of styles are designed to create bespoke brand marks, stylish liquor labels, unique restaurant menus, engaging websites and fresh magazine layouts. The fonts are built on the same foundations, so the display and decorative styles can be mixed and matched while maintaining a harmonious look. Several of the styles can also be layered together; add a subtle shadow to your headline or create a full dimensional look with an inline face. The collection is rounded out with two sets of accent fonts, and a set of text weights, with matching italics.

Cunaeus is intended primarily for use in running text. It brings together the types of two renowned sixteenth-century punchcutters: the roman is an interpretation of a pica font cut by Ameet Tavernier (c.1522–1570), and the italic that of a pica font of Robert Granjon (1513–1589/90). Granjon’s italics have inspired a number of revivals in the past, but usually of his more slanted styles; the present digitization features the lesser slant of his so-called ‘droit’ style typical of the mid 1560s. Cunaeus provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Grange Text is optimised for smaller text sizes, having more open character shapes and spacing. Use the non-text version of Grange for larger sizes and headlines, which has tighter spacing and detailing. Grange is the Device interpretation of the classic “Grot” thick/thin sans style. Unlike the traditional models on which it is based, Grange takes a rational, consistent approach across wide range of weights and widths for contemporary use. The font includes alternative curved and straighter versions of key characters, most obviously the lower-case ‘g' and capital ‘R', allowing the font to take on either a sharper or warmer, more playful appearance. These can be toggled on or off using the ‘Alts' feature in Illustrator, or ‘Stylistc Sets’ in Indesign. Contains proportional, lining and tabular numerals.

Typewriter DirtY is related to the Typewriter BasiX and Typewriter Revo fonts. While Revo has a very clean and simple outline, BasiX is a bit washed out and looks worn. DirtY goes a step further and has a very dirty, worn, fuzzy, grungy vintage look – even more so than BasiX. Typewriter DirtY is especially suitable for headlines, logos, covers, slogans and much more. BasiX and Revo are recommended for longer texts. Although Typewriter DirtY looks good even in small font size, it is a bit more complex to render because of its detailed outlines. Typewriter Revo, BasiX and Dirty are monospaced typewriter fonts, which are matched to each other. They have the same dimensions and generally somewhat similar contours. Therefore, they can be perfectly mixed and matched with each other.

The multi award-winning Seria (1996) is Martin Majoor’s second comprehensive typeface family and the successor to his popular text letter Scala. Seria explores the proportions of classical text typefaces. Its degree of sophistication is perfect to be used for poetry and other refined literature, its eye-catching details however makes Seria also suitable as a display typeface. The first sketches for Seria emerged in the summer of 1996 on the train from Berlin to Warsaw, to be precise, on July 25 – the date Majoor noted on the napkins of the train’s on-board restaurant, which he used for lack of suitable drawing paper. The italics are almost upright which contributes much to Seria’s delicately proportioned appearance. The Seria family consists of Seria Serif and Seria Sans. Combining the two creates countless possibilities of expression.

The concept for Vista began when I sketched a few characters in a notebook while staying in Sumatra on a one month holiday. I wanted to design a typeface for text and display that would retain some of the characteristics of the idiosyncratic shop signs that surrounded me in Sumatra. - Xavier Dupré The result is a comprehensive family spanning six weights, complete with small caps and lively alternate forms, striking a healthy balance between functionality and expressiveness. Each of the six weights includes alternate, small cap and italic variants for a total of 36 fonts in the family. They are available in a full volume of 36 fonts, or in four packages. The packages are grouped into two sets of contrasting weights, with the alternates and small caps divided into separate packages.

Point™ Soft is more than the rounded edges version of Point™, it is a reinterpretation of what a geometric soft font should look like. Clean, simple, and above all: huggable. Point™ Soft conveys that warm and soft feeling. With 20 styles it gives you a lot of versatility (From Hairline to Black), plus it comes with two FREE styles for you to play with before commit yourself to buy it. It has Extended Latin and Cyrillic support, old style, lining and tabular figures and much more. It has a wide range of use possibilities. Since it is a very readable font in small font sizes and the details really pop out in display sizes. Be it on small or large font sizes, Point will make its point.

Matchbox Font Collections Inspired by a vintage book, old style design, a classic casual vintage look fonts. Minimal decoration on the fonts made it more casual look. The fonts are very versatile, even it works also on modern design but still keep the classic look. Created 6 Fonts that can be combined each other. Like on the Preview images, I've been created from the victorian style to the minimalist badges. It's still blend to each other. What's inside : Matchbox Linea - Bold, Sharp, Standout with inline cut. Matchbox Lettre - Popular Vintage Sign Style. Matchbox Deco - As it names, Art Deco Style. Matchbox Scriptura - Casual Script Fonts, Good for Pair or on a small details. Matchbox Ornato - The Only fonts with a touch of vintage decorations. Matchbox Graso - Little touch of a Fat, Fun and Casual.

Lumien – Display Serif: All-Caps Elegance Introduction to Lumien Meet Lumien, a captivating all-caps display serif font that exudes elegance and sophistication. Its timeless design makes it a versatile choice for various applications. Design and Style Lumien boasts a classic serif design with all-capital letters. Its clean lines and sharp edges give it a modern yet timeless appeal, making it suitable for a wide range of display projects. Versatility and Usage This font shines in display settings, making headlines, titles, and logos stand out. It’s an excellent choice for branding, editorial design, and high-impact graphics that demand attention. Distinctive Features Lumien’s all-caps characters ensure clarity and legibility, even at smaller sizes. Its versatility extends to both digital and print media, enhancing the visual impact of any project.

Nadishaq - Arabic Font is a captivating typeface with a unique Arabic letter theme. Each character in this font is meticulously crafted using the basic Arabic letterforms, resulting in a font that authentically captures the essence of Arabic script. It retains the distinctive features of Arabic letters, such as dots and swashes, which adds an extra layer of authenticity to your designs. Perfect for logos, packaging, branding, books, titles, and posters designed with an Arabic theme, Nadishaq seamlessly integrates into designs focusing on the Arabic language and culture. It's a font that encapsulates the beauty and intricacies of Arabic script, making it a versatile choice for a wide range of projects. With its Arabic-inspired design, Nadishaq allows you to infuse an authentic Arabic touch into your creative works, making them truly stand out

Abigale was built with OpenType features and includes beginning and ending swashes, heart / love swashes, numbers, punctuation, alternates, ligatures and it also supports other languages :) Say hello to Abigale - A font that you were meant to find, and is now destined to be with you :) Abigale is a lovingly handwritten script , with an air of grace and flamboyancy. Abigale is special in that one word can be written in a many different ways - thanks to the large selection of extra letters that it has built in. To access all the extra characters , Opentype capable software is recommended - most apps support Opentype features now days. The alternates are accessible by turning on 'Stylistic Alternates' and 'Ligatures' buttons on in Photoshop's Character panel, or via any software with a glyphs panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape.

When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts in fear as being seen as a one-trick-pony. A few years have passed and some early sumi-e brush ‘doodles’ kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka. This new font was turning out to be far more expressive, smooth and rough, tasty but sticky. This dichotomy demanded a new name. The rough and smooth texture suggested the name Fugu—oddly delicate while rough and functional.

Rhodes is a modern geometric sans serif consisting of 5 weights ranging from Extra Light to Bold with matching true italics. Its variety of weights provide a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines. Rhodes has been designed purposely to enable brands to appeal more emotionally to modern consumers. The balanced characteristic of Rhodes with unique details, such as the geometric form and the prominent x-height makes it perfect for strong headlines and outstanding logos, but also suitable for long text. Rhodes includes a set of ornaments in regular and italic to be able to combine it with the glyphs and thus, to give your designs more exclusivity.

Ekorre is a professional serif typeface. Drawn and created by Mans Greback in 2021, this creative font family has a vivid retro style and a strong personality, and is constructed with soft corners and flowing shapes. The letterforms express empathy, while retaining seriousness. It is provided in six complementing high-quality styles: Ekorre Regular, Ekorre Bold, Ekorre Black and each one as Italic. Ekorre is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic 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 Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Telemark is a monolinear slab serif influenced by the wide serif typefaces of the 19th century. The name refers to the vintage form of skiing which was introduced in Norway at the same period of time and allowed more fluid turns. After the Telemark style was replaced by newer techniques in the Alpine countries it has experienced a rise in popularity in recent years. The Telemark type family features the three weights in an additional label style which allows an uncomplicated creation of editable pointers, banners and cartouches. Different combinations of end pieces result in a great variety of designs. Telemark is suitable for headlines and logotypes and complements script typefaces as well as any neutral grotesque. Details include 207 characters in three weights, a total of six styles and manually edited kerning.

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

The Cholla typeface family was designed by Sibylle Hagmann in 1998-99 and named after a species of cactus she encountered in the Mojave Desert. Cholla was originally developed for the Art Center College of Design in Pasadena, California. There, art director Denise Gonzales Crisp and associate designer, Carla Figueroa, collaborated with Hagmann to create a series of fonts that would offer a great deal of variation. The variety was needed to echo the school's nine different departments, yet together the fonts had to exude a unified feel. It was first used in the radically designed 1999/2000 Art Center catalog which won a honorable mention in I.D. magazine and was featured in Eye No. 31. Originally Hagmann set out to design a typeface that, as she recalls, "I could feel comfortable making, first of all, and one that would serve a purpose and had a clear idea behind it, and something that I would want to use myself." Stylistically Hagmann set out to create "12 cuts with slightly different personalities, with different ideas applied. For example the bold weight isn't simply the Regular with weight gain, but has bold letterforms with their own peculiar details. What all weights share and what is the necessary unifying detail is the tapered curve - marked out, for example, in the lowercase b's left top and bottom of the bowl." Gonzales adds: "The forms seemed classical as well. This combination could have a long life, and be timely. I also saw - at least in the beginnings of Cholla - forms that connoted hybrid, of inter-connection, of human and machine growing together. These notions seem appropriate for a school that teaches design and art." Greek version by Panos Haratzopoulos.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. A total of 20 well-developed fonts are available: 10 line thicknesses from hairline to black, each of which can be upright and italic. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Introducing "Metal Thorn" – a font that seamlessly blends the raw power of metal with the edgy intensity of thorns, all wrapped up in a cutting-edge cyber aesthetic. This font is a manifestation of metal brutalism, designed to make a bold statement with its fierce and avant-garde personality. Metal Brutalism Concept: Inspired by the industrial strength and unapologetic nature of metal, Metal Thorn embodies the essence of brutalism, creating a visual impact that is both commanding and unyielding. Fierce Thorn Design: The thorn elements within the font give it a sharp and aggressive edge, adding an extra layer of intensity. Each character is crafted with precision, making Metal Thorn a formidable choice for those who seek to convey strength and determination through typography. Modern Cyber Feel: Infusing a touch of cyber aesthetics, Metal Thorn transcends traditional boundaries. Its sleek and futuristic design elements make it perfect for projects that demand a contemporary, cutting-edge vibe. Extensive Glyph Set: With a generous set of 1014 characters, Metal Thorn ensures versatility and flexibility in your design projects. From standard Latin characters to multilingual support, this font caters to a wide range of creative needs. Alternate and Ligature Support: Unlock even more design possibilities with alternate characters and ligatures. Metal Thorn allows you to experiment with different letterforms, providing options for a customized and dynamic typographic experience. Multilingual Support: Metal Thorn breaks language barriers, offering comprehensive multilingual support. Communicate your message globally with ease, as this font accommodates a diverse range of languages. Whether you're working on a poster, branding, digital art, or any other creative endeavor, Metal Thorn is your go-to choice for a font that demands attention. Elevate your designs with the raw energy of metal, the fierceness of thorns, and the modern sophistication of cyber aesthetics – all encapsulated in the captivating Metal Thorn font.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

Alchemila "UNIQUE serif modern font" likely refers to a typeface that combines elements of traditional serif design with contemporary and distinctive features. Serif fonts have small lines or strokes attached to the ends of characters, which can contribute to a more formal or traditional appearance. The term "modern" in this context typically implies a contemporary or updated style. Here's an explanation of the characteristics and significance of a UNIQUE serif modern font: -Serif Elements: Serifs are the small lines or strokes at the ends of characters, and they are a hallmark of traditional typography. In a UNIQUE serif modern font, these serif elements are likely to be present but may have a distinctive shape or style that sets them apart from more conventional serif fonts. -Contemporary Design: The "modern" aspect of the font suggests a contemporary or updated design. This may involve a departure from the more classical serif styles seen in traditional typefaces, incorporating modern design principles, cleaner lines, and a more minimalist aesthetic. -Distinctive Characters: A UNIQUE serif modern font is likely to feature characters with unique and individual design elements. This could include unconventional serifs, letter shapes, or other stylistic details that make the font stand out and contribute to its uniqueness. -Versatility: While serif fonts are often associated with formality and readability, a UNIQUE serif modern font may offer versatility suitable for a range of design applications. It could be used in both traditional and modern contexts, providing flexibility for various design projects. -Applicability to Branding: Fonts play a crucial role in branding, and a UNIQUE serif modern font could be an excellent choice for businesses or projects that want to convey a sense of tradition and reliability while maintaining a contemporary and innovative image. -Digital and Print Design: Modern serif fonts are often designed with both digital and print applications in mind. The clarity of the typeface, even at smaller sizes, and its aesthetic appeal make it suitable for a variety of design projects, from websites and apps to print materials like brochures and posters. -Attention to Detail: The uniqueness of the font may be reflected in the careful attention to detail in each character. This could include refined curves, balanced proportions, and other design elements that contribute to the overall visual appeal and readability of the font. -Available Features: Unique serif modern fonts may come with additional features, such as alternative characters, ligatures, or stylistic sets, allowing designers to customize the appearance of the text for specific design needs. When selecting or working with a UNIQUE serif modern font, designers should consider the overall design goals, the intended audience, and the context in which the font will be used

Connected Neon is a mesmerizing display font that encapsulates the vibrant glow of neon lights, fusing it with a unique twist of connected letterforms. With its bold and uppercases design, this typeface commands attention, drawing the viewer into a captivating visual experience. The defining feature of Connected Neon lies in its elegant lines that seamlessly connect each letter, creating a unified and harmonious composition. These delicate lines flow effortlessly from one character to the next, accentuating the connectivity between them. As a result, the letters appear to dance with an electric energy, forming an enchanting tapestry of illuminated artistry. The neon-inspired style of Connected Neon is a nod to the retro-futuristic aesthetics of the 80s, reminiscent of the vibrant signage that adorned the bustling city streets. The font's luminous glow radiates with an otherworldly aura, casting a vivid hue that is both nostalgic and contemporary, evoking a sense of vibrant energy and modernity. Each character in Connected Neon has been meticulously crafted to strike the perfect balance between legibility and decorative flair. The bold letterforms boast a sleek, sans-serif design, ensuring clarity even in the midst of the dynamic interplay of lines. The seamless connections between letters create a sense of continuity and fluidity, enhancing the visual appeal without compromising readability. Enjoy the various features available in this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Connected Neon is ideal for a range of creative projects that demand a touch of charismatic flair. From eye-catching headlines on posters and advertisements to striking branding elements, this font adds a touch of electrifying allure to any design. Whether you're designing a captivating logo, crafting an attention-grabbing title, or bringing a digital artwork to life, Connected Neon will effortlessly infuse your creations with a radiant glow and a sense of interconnectedness. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Legible, technical, clear—with a hint of retro: Compiler is a no-frills font family straight from the heart of a microprocessor. Inspired by console typefaces, the humanist sans serif typeface combines a large x-height with striking serifs on certain letters such as i and l. Those serifs evoke the aesthetics of monospace typefaces for programming. Even though Compiler is a proportional typeface, this detail improves glyph recognition and helps differentiate between individual letters. Combined with vertical stroke ends, which allow for particularly even spacing, the serifs make for an extremely legible typeface. (Even in small sizes.) Brand recognition guaranteed: Compiler is ideal for applications that require a mechanical flavor without appearing offish. You can use it for websites, apps, branding, corporate design, annual reports, signage, and many other areas with perfect results. Compiler consists of two font families; the second one is Compiler Plain. In Compiler Plain, the signature letters lose their serifs and the forms of "a" and "g" are simplified. This way, the shapes are neutralized. The technical impression recedes into the background. Both families can be combined smoothly: you might use the standard Compiler fonts for display sizes and Compiler Plain styles for body copy. For total design control, you can toggle each of the defining design elements individually from Compiler to Compiler Plain and vice versa. Just use Stylistic Sets to fine-tune your Compiler fonts. Compiler provides you with 8 weights in 4 variations: Upright, Italics, Plain Upright and Plain Italics. That's a total of 32 fonts. Each style contains more than 860 glyphs, including advanced typographic tools such as proportional and tabular figures (both lining and old-style) or small caps—something you'll rarely find in this genre. Other glyphs are optimized for display sizes, such as circled figures and various arrows. There's also a set of glyphs designed for web use: with symbols for shopping carts, hamburger menus or checkboxes, you can implement your web projects elegantly and consistently without relying on third-party tools (like an external icon font). Powered by highly productive OpenType functions, Compiler is an intermedia workhorse straight from cyberspace.

Because you demanded it, the Aviano series is back with a variable version of the futuristic sans serif Aviano Future. Aviano Future’s strong letterforms will make you look like a rock star. Aviano Future Variable is a medium-contrast sans serif titling face that has a bold and futuristic look. It has a bowed square shape which gives it an interesting appearance that is both unique and eye-catching. Given that it has a variable axis any weight can be selected with no loss of clarity or legibility. Aviano Future's expanded forms give the letterforms heft and intensity. Aviano Future is a powerful yet adaptable title face that builds on the award-winning traits of Aviano and elevates them. Aviano Future Variable contains a ton of OpenType capabilities and comes in ten different defined weight instances with "fast" italic forms for emphasis. Want to use more traditional rounded forms? Need swash forms? Art Deco alternates? Aviano Future includes 400 alternate characters. Twelve style sets are available, two sets of art deco inspired alternates, small forms, tough swash, constructivist titling and traditional stylistic alternates. Aviano Future also includes 40 discretionary ligatures for artistic typographic compositions. Additionally, there are glyphs in this family to accommodate a variety of languages, and Cyrillic support was added in 2022. An extensive selection of sans serif typographic systems can be found in the Aviano family. The typefaces can be used alone or in combination to suit the needs of any project. The family's fonts have all been meticulously designed to assist ensure maximum impact and usability at any size. Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Copper, and Aviano Slab are presently part of the Aviano collection. A skilled designer who wishes to create a technological, futuristic, or epic design should consider Aviano Future. Aviano Future Variable will make your design stand out from the competition, regardless of whether you are designing a logo, poster, flyer, website header, or banner ad. Why wait? With the exciting and versatile Aviano Future Variable at your disposal, reach new heights and create a brand that stands out from the rest.

RARE BIRD SPECIMEN II Specimen II is an elegant hand by Karla Lim of Written Word Calligraphy. It floats across the page on gossamer wings. Specimen II pairs well with classic typefaces like Baskerville, Garamond and Bodoni. OBSERVATIONS Specimen II is exquisitely delicate but not fragile. Best suited for unforgettable affairs. DEFINING CHARACTERISTICS Opentype programming, formal title & preposition wordart, 7 alternate ëandí options, Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, alternate capital letters, old style numerals, basic Latin encoding. POTENTIAL SIGHTINGS Wedding stationery suites, logo design, luxury product packaging, fragrance, wine labels.

RensGazet is a decorative blackletter typeface with elaborate upper-case letters and condensed lower-case characters. It was inspired by the masthead of a short-lived weekly newspaper, The Rensselaer Gazette, which was published from 1857 until 1860. I could not find any existing digitized fonts that replicated this old typeface, so I decided to create an interpretation of it. I had samples of few letters in large point sizes and a number of others at a small point size, though these were blurry and not sharply defined. As a result, this typeface is undoubtedly considerably different from the original. Also, my spacing is much tighter than that in the source samples.

Rotato Sans is a geometric sans-serif typeface that brings a fresh, modern look to any design. This minimalist but distinctive font is defined by its crisp composition and symmetrical elements — designed for optimal legibility at all sizes. Available in three different weights, Rotato leaves an understated impression of elegance & futurism! Currently available in three standard weights (more coming soon): Rotato Sans Bold – Strong and futuristic Rotato Sans Regular – Clean and crisp Rotato Sans Light – Elegant and modern FEATURES Three (3) Font Weights + Italics Numbers & Punctuation Special Characters Rotato Sans is a dynamic font that works great across various applications: from branding & logos to technology & fashion — whether in a giant heading, or paragraphs of body text.