Monarque is an elegant typeface. It is crafted with fine details that would make your typography stand out. Large x-height, high stroke contrast, rounded curves & long sharp serifs create together a dramatic look that would succeed in delivering a strong message with elegance. The true italic’s are designed to work harmoniously with the roman for a striking contrast within a line. Originally created to be an all-caps only, the font includes a lot of uppercase ligatures that are thought to flow in naturally and achieve a legible composition. OpenType features include a stylistic set of alternates, contextual alternates, discretionary and standard ligatures, old style figures, small caps and case-sensitive forms. The type family is available in 5 weights for a total of 10 fonts and supports over 200 Latin-based languages, making Monarque a solid powerful typeface ready for any kind of project from editorial design, branding, magazines, logos and more. As Monarque is only available as a display (for now) its full potential operates at its best with headlines or short to medium-length texts.

Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the ‘New objectivity’ architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau, which is related to the ‘New Objectivity’. Words as stately, angular, linear, stylish, artful, playful and frolic came to mind. It should be a design with a hint of the past and a flirt with the future. This house numbering is the root wherefrom Jazmo arises. The name Jazmo cites to the Jazz scene, which was a new and very popular artistic influence that time and age and is still a vibrant source of musical renewal. Mo stands for my Name Marit Otto. Together with my intern Arie Blok I created the missing characters and completed the font. Welcome Jazmo!

Introduce the Booer Font Express Your Creativity with a Powerful and Modern Gaming Style. Booer display is a font that reflects the power and style of the gaming world in a sharp, modern package. Booer is the perfect solution for a variety of projects that require a unique theme, whether it's a film, game, or streaming event. Her bold and exciting style provides room for creativity to flourish. What Makes Booer Special: Powerful Gaming Style, Booer Design exudes power, capturing the essence of the gaming world. Each letter is a statement of dominance and modernity. Two Style Families: The Booer font offers two different style families: Regular and Italic. This advantage allows you to adapt your designs to various contexts, whether requiring a strong presence or an elegant touch. Multilingual Support: Booer Font supports multiple languages, allowing you to connect with a global audience easily. Enhance your designs and make an impact with Booer Fonts. It's not just a font; it's a gateway to a bold, modern, and compelling visual world. Download Font Booer now and experience the thrill of creating unforgettable designs!

With its slightly rough edges, Thumbnail Text works well where lettering is required. Letterforms wiggle a bit here and there but are generally quite uniform. Characters are a bit imprecise - but not showy or bouncy. They appear more adult-looking than childish and are very legible. Put Thumbnail Text to work as drafting notation or on blueprint projects that need to be easily read. It¹s also useful when concept or sketch stage lettering needs to look serious but not highly stylized. You might experiment with it inside cartoon thought balloons or in callouts. This design is based on an old showcard style from the 1940s. It's been dusted off and reissued for modern use. A lowercase has been added for greater functionality. Thumbnail Text Regular is now available in the OpenType Std format. Some additional characters have been added to this OpenType version as stylistic alternates. This advanced feature works 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.

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.

Rakochuk is the ideal font for your project if you want a typeface that has a classic, retro, and vintage vibe in a condensed form. This typeface has a unique shape that will bring a classic touch to your project and was designed with attention and detail in mind. Not only that, but Rakochuk includes ligature and alternate characteristics, providing you greater freedom in its application, especially when you need a more personal touch in your design. This typeface is appropriate for international projects due to its linguistic support. If you want to bring an elegant classic, retro, or vintage feel to your project, consider Rakochuk. Get it now and set your project out from the crowd! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Pandilla was inspired from personal sketches and letters developed by the past of the years making graffiti art. the forms of this typeface are related with the graffiti and street scenes of the different cities around the world and takes traits and elements of the Handstyle, Classic graffiti, Brazilian Pichação and different urban letters. This font has a variety of objectives, the first is to create a legible version of the graffiti inscriptions and use this typography for different print pieces, the second objective is to give back the essence of the meaning of the word "Pandilla", this word has been transformed for the past of the decades and now is associated with negative things. The original meaning of this word is a group of people who feel a close relationship, which usually have a friend or close interaction with ideals or common philosophy among members. Pandilla is to be used in different print purposes and graphic pieces like: Posters, Brochures, Magazines, Business cards and different stuff that uses big type sizes and big display formats.

Fifteen hundred years from now, a man will be selected to go back in time to prevent a catastrophic event which turned his world into a dystopia. Sent back in time, he was enveloped in empyrean fire, the strands of energy that make up time itself. Crash-landing near Astro City in late 1985, he learned how to master and channel the empyrean forces that had suffused his body -- finally learning to control his powers in time to prevent the destruction of the Space Shuttle Challenger, the event he had been sent to avert. He described himself to journalists as nothing more than "a Good Samaritan", and has continued to help his fellow man in Astro City ever since. John JG Roshell has also been struggling with the empyrean challenge of fitting all of Kurt Busiek's Astro City dialogue into balloons with the regular Samaritan font, so he created the Samaritan Tall font to help his fellow comic book letterers! It's kinda the same thing really. See the families related to Samaritan Tall: Samaritan &

Rough. Torn. Shredded. Worn. Weary. Gritty. Uneven. Irregular. Ripped. Scraped. Cracked. Eroded. Deteriorated. And now ready to present your powerful message in 65 languages! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Is it necessary to tell the Gutenberg story? 1456 Gutenberg Pro is the second Gutenberg typeface produced by GLC foundry (look at our 1456 Gutenberg). This font was created from the so called "B42" character set used for the two Gutenberg Latin Bibles (42 and 36 lines), but with a better and finer design than in our first version, more faithful to the finest original printed books appearance. We offer also now a larger choice of the original ligatures and Latin abbreviations, as complete as possible to be usable with OTF specifications. The complete basic alphabet (with "long s" naturally)is strictly looking like the real one (including the curious twisted "X"). We have only recreated the capitals W and J, who was not existing in the time. The numerals, no more existing in the original type set, were inspired from those in use a few years later by early following printers, but matching with the Gutenberg font's pattern. The font includes West (including Celtic), East, Central European, Baltic and Turkish glyphs.

This is an extension of Mikolaj's Grabowski first typeface. Formerly known as EPILEPSJA, now coming as ACHTUNG. Adding lowercase and small caps, as well as additional language support including Cyrillic script and some dingbats. ACHTUNG Color Type Family has a range of application from warnings and safety signage to propaganda posters and anarchist graffiti. Every place where you need an indisputable message, be it in headlines or titles, this font comes in handy. It’s a stencil, it’s layered and impossibly dimensional. Download the specimen HERE. I advise you to do so in order to being aware of how the layers work and how to use color fonts. Total of 1020 glyphs. Languages: Afrikaans, Albanian, Bosnian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Macedonian, Maltese, Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Ukrainian, Vietnamese, Zulu. OpenType features: small caps, localizations, superscript, fractions, ordinals, proportional and tabular figures, case sensitive forms, stylistic alternates, contextual alternates, and proper mark attachment.

MANUFAKTUR is a gas-pipe sans. A typeface influenced by an cast iron sign on an old Swedish industrial machine. The simple curves of the characters suited well for an 21st century update and the new and modern MANUFAKTUR is now a variable typeface with thousands of combinations of width and weight. MANUFAKTUR comes with stylistic alternates (smaller glyphs with underline) and small caps. The small caps also works as lowercase glyphs by default. With an OpenType-enabled app - or your website - you can control the width and weight of the typeface via a slider or with code. VARIABLE FONT SUPPORT: Currently Adobe only supports variable fonts in Photoshop and Illustrator. InDesign are still waiting on variable font support. This hardworking sans serif is perfect for display use, signage, poster, prints, editorial use, branding, logos, magazines, films and lots more. The variable weight and width makes MANUFAKTUR very versatile and flexible. If variable fonts isn't your bag MANUFAKTUR also comes predetermined weights and widths as a traditional font.

Corporative Sans typeface is developed by Latinotype Team. Corporative Sans is the new version of Corporative. This font has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes. Since it is a condensed font, it can also be used in smaller sizes. Corporative comes with the Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics. Latinotype has added new faces to its team. Latinotype Team now comprises: Rodrigo Fuenzalida, César Araya, Bruno Jara, Luciano Vergara and Daniel Hernández. Corporative was created by Latinotype Team and developed by Javier Quintana, Rodrigo Fuenzalida and César Araya, under the supervision of Luciano Vergara and Daniel Hernández.

Introducing Kindly, a friendly, hand-drawn, all-caps font with tons of symbols, wingdings, and word art. I’ve been developing this style of lettering for years in my custom design and lettering work, and now I’ve taken the time to turn it into something anyone can use to design with authentic, hand-drawn typography. Kindly is perfect for invitations, design for children, branding, and editorial design and comes with more than 100 extra elements to bring some fun to your layouts. Kindly comes with 504 glyphs and a smattering of OpenType features, including stylistic sets, character variants, and multilingual support (including multiple currency symbols). The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you need help with this, ask me!) The wingdings, word art, and other fun elements are all PUA-encoded so you can easily use them in OpenType-savvy software or with a character map.

In most cities during the 1950s and 1960s the corner pharmacy or soda shop was a mainstay of teenage life. It was a place to hang out with friends, hear the latest hits on the jukebox and indulge in everything sugary from malted milkshakes to banana splits. During this time, a popular form of window advertising was supplied by the Coca-Cola Company to promote its product being served by these locations. Specialty window decals designed to emulate drawn (raised) Venetian blinds "bookmarked" by the soda's logo were adhered to the shop's windows, with a space provided to add in customized lettering. The store's name or its specialties were applied to each window pane, and this formed a consistent border at the top of all of the shop's windows. Although few visual images exist of this specific bit of advertising nostalgia, an old record album by a late-1950s singer named Chip Fisher called "Chipper at the Sugar Bowl" provided a somewhat usable sample for what is now Soda Fountain JNL.

Tweed is a journey into the 1930s world of hand-lettering. The design looks very much like the personal scribblings of an old-fashioned cartoon animator. It’s the sort of sketch-style you might find describing a goofy caterpillar or laughing willyworm. Tweed is fun and light-hearted with open and rounded letters of a somewhat musical quality. Derived from old letterforms popularized by Carl Holmes in his wonderful book on the subject, Tweed is basically friendly in nature. This typeface is great for personal greeting cards and stationery - any kind of casual correspondence. It works well in display situations, too. And yes, there is an alternate to the funny-looking “w” character. Just press option l (el) on Mac. Or Alt 0172 on Windows. Tweed is now available in the OpenType Std format. Some new stylistic alternates have been added to this OpenType version. 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.

A modern and elegant look of a sans serif tagline. This font comes with nine levels of thickness, from light to black, according to your needs. It pairs well with san serif and modern script as pictured or stands alone as a representative header and brand for an elegant look. Olarwe is equipped with a professional modern character font that can present an elegant and attractive identity for your company for business use, such as business cards, name tags, and uniforms as brand elevation. This modern Olarwe typeface is suitable for embossing as letter nameplates or even sprinkling them in your office with elegant-looking cutting stickers. This elegant Olarwe-type shape also looks excellent for book covers or magazine articles. You can see all the available characters in the screenshot above, and you can try the modern & elegant Olarwe now for any design issues. Olarwe is also multilingual, making it easy to work with for any country and language use. It also comes with Ligatures and alternative stylistics to make your designs more attractive.

The Akko typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Picture an industrial strength typeface like the Isonorm™ design. Now blend this with an organic design like the Cooper Black™ typeface. It was the idea of the fusion of these two design concepts that inspired Kobayashi to draw Akko. „My initial idea was to create a sanserif type with a ‚soft-focus‘ effect,“ says Kobayashi. „From here, the design evolved into two families, the robust and structured sanserif Akko and soft and friendly Akko Rounded.“ Akko has a wide range of weights, with options including complementary italics and a new Condensed range. The Akko typeface family is available as a suite of OpenType™ Pro fonts, allowing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. And new Paneuropean versions introduce support for Cyrillic and Greek.

Introducing Rantic Kafis, a classic modern font with a bold and elegant touch. This font features thick strokes and rounded edges, giving it a distinctive and sophisticated look. With its stylistic set options for upper and lowercase letters, Rantic Kafis adds a touch of individuality and creativity to any design. Rantic Kafis is the perfect font to add a classic modern feel to your work. Its thick strokes and rounded edges make it highly legible, ensuring that your designs are easy to read and understand. So if you’re looking for a font that combines the best of classic and modern design, look no further than Rantic Kafis. Download it now and start creating stunning designs that stand out from the crowd! What’s Included : - File font - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

This typeface is based on ISO 3098, a technical documentation issued in 1974 by ISO (International Organization for Standardization), which proposed a set of characters for use on technical drawings and associated documents. Isotext is based on the original standards but is completely redesigned to fit typographic requirements. This new ‘Pro’ version is further improved and now comes with a complete set of redesigned true-italics. Furthermore, the width of the glyphs has increased in order to establish a more balanced and readable text. The result is a contemporary font which works well in small sentences as well as long texts. Isotext Pro is loaded with all the good stuff a designer needs to create documents with attitude. It supports 19 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

The typeface “Icons Dingbats Smybols Set” is designed at 2019 for the font foundry Typo Graphic Design by Manuel Viergutz. The Basic Icons Set is a display typeface that inspired by the here and now. 426 glyphs / icons / decorative extras like icons, arrows, dingbats, emojis, symbols, ornaments, social media icons, sign of the zodiac, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for or #SMILE for as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Icons Dingbats Smybols Set ■ Font Weights: Reg + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat: .otf (Open­Type Font for Mac + Win) ■ Glyph Set: 436 glyphs / decorative extras like icons ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture. Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & geometric shapes ■ Design Date: 2019 ■ Type Desi­gner: Manuel Viergutz

Introducing Gueton, the retro condensed font that adds a classic touch to your designs. This font features a timeless and stylish retro look and comes with 20 alternate characters and 25 ligatures that beautifully complement its unique design. Whether you’re working on a vintage-inspired project or just want to add some nostalgic charm to your work, Gueton is a perfect choice. Not only does Gueton offer stunning design features, but it also supports multiple languages, making it a versatile font for a wide range of projects. Whether you’re designing a logo, poster, or website, Gueton’s classic and modern blend will give your work a standout and professional look. Check out our collection now and elevate your designs with this elegant and sophisticated font. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

A funny and quirky handwritten script - with an original "monoheight" letter design. It is cute and adorable, and now available for setting text in most latin-based languages. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

In Northern Sumatra, the crystal clear waters of Lake Toba lap gently against the surrounding mountains. In the middle of the lake sits the island of Samosir, for centuries the secluded home of the Batak people. Visitors arrive by ferry into the tiny town of Tuk Tuk, escaping the heat and humidity of the Sumatran jungle. Throughout the village, restaurants and guest houses are adorned with hand-painted signs in bright colors. Perhaps due to Sumatra's long history of European colonization, the letterforms are reminiscent of those used for posters and handbills in America and Europe at the end of the 19th century, but with a distinctly Southeast Asian flavor. Charles Nix, intrigued by the combination of Victorian fancy and Batak arabesque, photographed, sketched and translated the letterforms into a design that is now ITC Batak. Named for the proud ancestors of Samosir's inhabitants, it is a bold condensed letter with hexagonal serifs - a sort of properly dressed grotesque. Batak is available in either Condensed or Condensed Bold.

ULGA Grid Solid is the sharp, blockier sibling of ULGA Grid and ULGA Grid Rounded. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. Forged from a box full of ninja throwing stars – props from the now-forgotten 1976 Japanese film, Gridzilla, Revenge of King Gridorah – the solid shapes and sharp, chamfered corners give the characters a hard, cut-from-metal feel. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, nameplates for tractors, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Rounded, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. But, please, don’t use the characters as throwing stars. That’s just dangerous, someone will get hurt and you’ll regret it. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Now, more than ever, the world needs BenderHead. Why? – Because... it just does. Don't ask why, just take our word for it. BenderHead has its thicks and thins all mixed up. For you typographic aficionados, stroke weights and hairline weights aren't consistent, and many rules of typographic design were broken to make this font. We're sure there's a use for it... we've used it on CD covers and posters - and have seen it on a poster for the Zelda video game at Babbages. It's offered here for the first time through Altered Ego Fonts. I don't think we need to explain its history, its inspiration, or its historical reference to you... (we're not certain there is any.) Just accept it as it is, and use it profusely. Benderhead AEF features a full character set, including the Euro. It supports the following codepages: -Latin 1 -Latin 2 (Eastern Europe) -Western Baltic -Turkish AEF highly recommends the OpenType version for compatibility with future Macintosh and Windows operating systems. Not to mention they work better in Adobe InDesign.

Here is a wonderfully charming typeface similar in style to the folklore lettering created by Walter Crane, the prolific children’s book illustrator. This English artist created many beautiful, flower-decorated works during the Arts and Crafts movement that flourished between 1860 and 1910. English Garden SG Regular contains many of Crane’s original whimsical and quirky characters. Note the inclusion of a spurred capital G, a squat lowercase g, a bending floral lowercase d, and the quaint old style figures. All of which are a delight to use when casting a medieval storybook tone to your project. You might also take advantage of the enchanting small capitals when setting logos, headlines, and decks. English Garden SG Regular is now available in the OpenType format. Some new characters have been added to this OpenType version including stylistic alternates, discretionary ligatures, historical forms, and petite figures. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 8. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Some years ago, a good friend and typophile, Gonzalo García Barcha, approached me with the idea of designing a typeface for his editorial project Blacamán Ediciones. He had just came across an hitherto unknown manuscript by Luis Lagarto, a colonial illuminator and scribe, working in Mexico City and Puebla in the late 1500s. The manuscript calligraphy was incredible and stunningly original. It featured three different hands by the scribe, intermingled in the text: a kind of baroque «Roman» roundhand; a very ornate, lively «Italic»; and some sort of irregular, playful, even funny «small caps». All imbued with an eccentric, convoluted zest and vivacious rhythm. Lagarto is the final result of translating these extraordinary hands into a digital type family. Since the manuscript had no numerals, math signs and many other characters now in use, part of the fun of the job was to infer them from the stylistic peculiarities of Luis Lagarto's calligraphy. Lagarto received an Award of Excellence at the Type Directors Club of New York annual competition.

Meet the Yuk Ngexi Font: Strong, Bold, and Fun in Gaming Style. Who says design has to be boring? With the Yuk Ngexi Font, you can bring a touch of power, thickness, and gaming style fun to your every project. The Yuk Ngexi font is the perfect solution for various projects that require a unique theme. Whether it's for movies, games, or streaming game events, this font provides unmatched appeal. This font is designed with a strong gaming touch, giving each character a bold and striking feel. The Yuk Ngexi font comes in four different style variants: Regular, Blury, Outline, and Shadow. This gives you the flexibility to bring in a variety of nuances in your designs. Yuk Ngexi also supports multiple languages, allowing you to connect with a global audience easily. With Yuk Ngexi Font, you don't just get a font, you get the key to bringing creativity, power, and fun to each of your designs. Download the Yuk Ngexi Font now and watch how your design turns into something extraordinary!

P22 Preissig Calligraphic was originally designed by Czech typographer, artist, and designer Vojtěch Preissig (1873–1944). Preissig developed this type design in 1928 and has remained unpublished until recently. One can only speculate why this wonderful design was never produced into a commercially available typeface. His original designs feature an accompanying italic as well as small caps. Preissig had originally named the typeface design after his former employer in New York, Butterick Publishing Co. The ‘Butterick’ typeface retains the angularity of his previous typeface, Preissig Antiqua (AKA P22 Preissig Roman), but displays a more fluid calligraphic influence. P22 Preissig Calligraphic was started shortly after Richard Kegler saw the original drawings in an exhibit in Prague in 2004. A sympathetic security guard allowed a few photographs and the contraband images fueled a development of the typefaces. The design simmered for many years and is now ready to enter the world of contemporary design. P22 Preissig Calligraphic is a 2 font family that contains the originally designed small caps as an OpenType feature, as well as all the necessary diacritical to cover most European languages.

The Cabrito family is making a statement again. Launched as a supplement to the children's book, The Clothes Letters Wear, the original Cabrito is carefree, fun and easy on the eyes. Now, by balancing this friendly connection with new elegance, Cabrito Serif arrives: attractive copy text with an extra sophisticated sensibility incorporated into the design. Still bright and playful, this new Cabrito is cleaner and leaner, ensuring that its polished appearance retains legibility. 54 fonts include upright alternates, ligatures, and old figures. The range includes extended and condensed variants. To see any of these interactive features, see the PDF manual. The family also includes language support for 72 Latin-based languages, and there are more than 600 glyphs. Cabrito Serif can be used for logos and packaging, as well as for brochures and web pages. It’s readability makes it an excellent choice for a wide range of jobs. Take a walk with Cabrito Serif and see how much fun it is. By the way, look at some other Cabrito members and see how much you love the original, Inverto, Contrast or Didone.

Rawhide is a fresh digitization and expansion of a very popular (yet uncredited) early 1970s film type called Yippie, which was commonly used in wild west cartoons and comics. Publishers of Lucky Luke, the famous Belgian comic by Morris, used these bouncy letters for the titling on a few of their soft cover editions, and different variations of it were used throughout the 1970s and 1980s by cartoon classic Looney Tunes and a variety of wild west animations and comics. It slowly disappeared without fanfare when desktop publishing became the norm. Here it is again now for the computer age, available as a high quality font with a complete character set that accommodates more than 20 Latin-based languages. In short, Rawhide comes with an impressive track record, and is a must for any funny cowboy design or off the wall wild west layout. This set of fonts contains a very expanded character set that includes full support for Central, Eastern and Western European languages, as well as Baltic, Turkish, Esperanto, Greek, Cyrillic and Vietnamese.

Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles. This deluxe version includes display light, display heavy, and display black as well as the hard-to-find display light and heavy (Koch Kursiv) italics. Eva-Paramount, which is based on Morris Benton's 1928 ATF Paramount, has also been included. It contains a set of alternates characters that are in keeping with the light and heavy display letter styles. Eva-Antiqua is also available in the OpenType Std format. Alternates are now merged together into each style as stylistic alternates or as swashes. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Operetta is a neo-didone display font family inspired on Bodoni, Didot (early 18th century) and Walbaum (19th century). Despite of this heritage, Operetta’s design meets contemporary taste and typesetting needs. With five optical sizes, masterfully navigate between contrast and legibility across various dimensions. The range of eight weights, from the weightless Extralight to the robust Extrabold, let you set your tone: from delicate to exuberant. Operetta's generous character set and opentype features let you meet the most demanding layout needs. And don’t forget swashes, arrows and other extra glyphs, seldom included in a didonesque font. The number displayed in the font family name signifies the recommended minimal print size in points. In web design you should double the minimum value for a retina screen, multiply by 4 for a 72dpi screen. Of course its rendering depends on the printing support, screen resolution etc. Therefore, take it as a suggestion or a starting point; make your own trials. And now, the pièce de résistance: Operetta unveils its italics, adding yet another layer of allure and sophistication.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many rasterised fonts, I wanted to take it to the extreme and use as few dots as possible. The result is a typeface that lives up to its name. Each individual circle makes no sense on its own; individual letters are only recognisable in the context of all associated circles, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from a higher building, an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit increments to keep the grid. The numbers in the family- and style-names refer to the (ca.) grey value of the respective background and the font itself. Kontext Dot 00-33 has e.g. a white background (0%) and 33% grey value. Kontext Dot 66-33 has a 66% background and 33% grey value. »Positive« styles (first number smaller than the second number) have kerning, »negative« styles (first number bigger than the second number) can have none.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

After months of testing and development, we have managed to put together the Brandogram Typeface, an ultimate tool for monogram design. With the help of this typeface you can easily create a monogram in less than a minute. Thanks to the way we have created and optimised Brandogram, the uppercase letters effortlessly fit together with the small caps that are activated by the lowercase letters. Using the Brandogram typeface you can create unlimited monogram combos with 2, 3 or even 4 letters in some cases. And these are all possible thanks to features like: Multiple letter widths, from condensed to wide; Both sans serif and slab serif letter designs; Up to 24 different designs per letter; All letter variations are available as alternates so you can easily choose your favorite; Accents are available for each letter alternate; Uppercase and lowercase activated letters are constructed to perfectly center and middle align; There are 5 solid ready-made weights; There are another 2 stencil weights that can bring a new touch to your designs. The 7 weights of Brandogram Monogram Typeface: Thin Light Regular Medium Bold Stencil One Stencil Two Each of these weights are thought to express different levels of heaviness. The thicker the weight of the font gets, the less white space will be left between the letters when they are combined, therefore your design gets heavier. The role of the stencil weights is to create depth in the monogram designs. With those you can easily delete the extra overlapping shapes of the letters and create passages between the letters and give an interlocking impression. This typeface combined with your creativity can have no limits!