Righteous is a font with distinctive handwritten characters, perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project that needs a handwritten touch. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multi-lingual characters) • Ligatures • Alternates • Swashes There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question.Now just read this, go there and make it happen.

Marazion takes its name from a Cornish seaside resort in the UK's West Country. It was inspired by some hand lettering I came across at a local inn on the seafront where I was enjoying a lunchtime pint (always a good place to seek inspiration in my experience!) Being based on a hand drawn script Marazion is a smooth, fluid and rounded font that is both fresh and distinctive. Personally, I think it is well suited to applications in food and fashion, but in practice its uses are more or less universal.

Bamberforth is a new take on the type of lettering that was often seen on Railway timetables, share certificates and anything else that needed a distinctive heading in the mid-19th Century. This sort of thing was used on both sides of the Atlantic and can carry us back to another time. Bamberforth aims to give a modern clarity to a style of lettering that, in all other particulars, harks straight back to Victorian times. Bamberforth is ideal for giving anything a 19th century feel-especially posters, book headings, dust jackets and invitations.

P22 Woodcut features the look of letters carved out artists' printing blocks, as seen in the Expressionist woodcuts of Heckel, Schiele, Kirchner and Munch. P22 Woodcut Sans has the exact same spacing as Woodcut, but is featured without the distinctive top and bottom bracket lines. P22 Woodcut Extras is a collection of 64 decorative embellishments designed to complement the Woodcut fonts or to be used with other fonts. Modern "dingbat" imagery has also been integrated into this set which includes ancient symbols and a sampling of useful illustrations.

Matthias is a brush script font with distinctive handwritten characters perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project who need handwritten dishes. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Swash There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen :)

Calligrapher is an elegant font and has its own distinctive style, so it looks luxurious in every character. Calligrapher comes with OpenType features such as stylistic alternates, stylistic sets & ligatures good for logotypes, posters, badges, book covers, t-shirt design, packaging and more. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Alternate • Swash There it is! I really hope you enjoy it - comments and likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question.

Kecumik, a stunning Glamour Serif typeface, seamlessly blends elegance with modern sophistication. Its graceful letterforms exhibit a harmonious balance of curves and serifs, exuding a timeless allure that captivates the eye. Kecumik’s intricate details and refined strokes contribute to its distinctive personality, making it an ideal choice for projects that demand a touch of glamour and a nod to classical aesthetics. Whether used in editorial design, branding, or luxury packaging, Kecumik’s versatile charm elevates any visual composition, embodying a sense of refined beauty that resonates across diverse design applications.

Saffron is an elegant contemporary neo-grotesque sans-serif typeface with strong stylistic geometric contrasts, drawing on the aesthetics and the typographic standards of Swiss modernism. The distinctive wide-open stance was designed to give the right visual consistency for branding and communications. This authentic and original typeface represents the shifting contemporary aesthetics. Saffron is perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, and more. The Saffron family includes six weights, with their relative italics with over 700 glyphs and multi-language support.

Efrida is a sanserif font family with a sporty and maco feel. Naturally, this typeface will make your diverse projects look attractive, distinct, and flawless. because we created it with great care so that you can use it for a variety of purposes in your amazing project of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Compagnon is a friend, a partner. This handmade display font will come in super handy when you are working on that book cover, or the packaging of a product. It will shine on posters and websites and it will keep you warm at night. I guess that last bit is an exaggeration… Compagnon comes in three distinct styles: a ‘regular’ version, which is a bit rough around the edges, a ‘dirty’ version, with a juicy eroded look and a polka dot version. All three have their accompanying italics.

Summer South is a blend of 2 handwritten fonts with sans having a distinctive style and classy style, this font is suitable for your creative projects such as watermarks on photography, and perfect for logos & branding, photography, invitations, watermarks, advertisements, product designs, tools write, wedding designs, labels, product packaging, special events or anything that requires a handwritten flavor with a blend of sans. Summer South comes with 2 Signature and Sans Styles and has beautiful swash bonuses: uppercase, lowercase, lowercase, numbers, punctuation, binders, alternative letters and multilingual support

Love to be different? Mix up your design with Funky Outfit, the all caps display typeface that is fun, youthful, and playful. Funky Outfit is a striking display typeface with a distinctive personality. The quirky, energetic design of this font suits a variety of uses, ideal for headlines, logos, posters, product packaging, and more. Make your design stand out with Funky Outfit! So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. PUA Encoded and fully accessible without additional design software Simple Installations works on PC & Mac Thank You !

Like a phoenix rising from the ashes, the new Ashtronaut font is on fire and blasting off into outer space. This futuristic new font combines basic geometric forms like circles and dashes to form uppercase shapes that are softer and more traditional and lowercase letters with sharp and abstract characteristics. The result is a minimalist style that creates distinct and innovative new glyphs and letter combinations. The basic Bold variety is the strongest of the bunch. Try overlapping it with the other styles — Inlines, Outlines, and Bulbs — in different colors for dramatic and exciting effects.

Civita is a new 'Modern Type' with a high stroke contrast, distinct formal features, and a strong personality. It has a fluid ductus but nonetheless a solid structure. Civita is well equipped with many OpenType features which make it especially suitable for ambitious typography. The Civita family consists of 12 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

Retrouvailles is a French word, which means ‘the feeling one gets after reuniting after a long time’. This script font was based on a couple of handwritten letters and postcards and my own imagination. I used a drawing tablet for the ligatures and the connecting strokes. Retrouvailles comes in 3 distinct styles: the slightly slanted regular style, an Italic style and a back slanted style. Retrouvailles has an abundance of goodies under the hood: it comes with a lot of ligatures and all the diacritics you could poke a stick at.

Inspired by the heuristic typography of the Concrete Poetry movement, Solidus is a hardworking and unobtrusive sans in the Neo-grotesque style. Its simplified features, generous spacing and squarish curves imbue a sense of sobriety and allow the textual information to take centre stage, whether in body copy or at display sizes. Solidus is available in nine distinctive weights from wafer-thin Hairline to a hefty Black, each with accompanying italics. Typical of the Neo-grotesque style the italics are slanted in construction and have the same advance width as the uprights.

Urban Maxim" is a graffiti font that features three different layers: solid, shadow, and inner shadow. By using this combination of layers in your design, you can create a three-dimensional (3D) effect on your text. Fonts like this are often used in street art, posters, or other designs that aim to add depth and dimension to their typography. With "Urban Maxim," you have the flexibility to create text that looks distinct and more pronounced by using the various layers. This allows you to customize the appearance of your text to fit your design aesthetics.

Qibtiyah is a brush script font with distinctive handwritten characters perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project who need handwritten designs. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Swash There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen :)

MGN Marcelino, crafted by Morgana Studio in 2024, is a captivating serif font that exudes timeless elegance. The distinctive serifs, characterized by their generous and slightly rounded contours, lend a unique charm to the typeface. This vintage-inspired font carries a sense of sophistication and nostalgia, making it a perfect choice for projects that seek to evoke a classic and refined aesthetic. MGN Marcelino seamlessly combines modern design sensibilities with a touch of the past, creating a versatile and visually appealing typeface that stands out with its bold and gracefully rounded serifs.

This typeface was designed for editorial purposes (text sizes), where the letterforms contain short serifs (more economical). This font family contains different weights (from Extra Light until to Extra Bold) to create an simple and sequential typographic hierarchy scale. There are two different weights and options designed specifically for text sizes (Regular and Text). The design is classical but contain some contemporary details, which are not distractive for reading, it's simple and clean at small sizes. This font family include italics, small caps, ligatures, old style and tabular figures.

Best Moment is a Chic and Lovely Calligraphy font, described by a Love touch with natural handwritten style, perfect for your favorite projects. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! "Best Moment" includes a full set of lovely uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. Also it includes: Alternates letter for lowercase beginning and ending swashes, lowercase ending ribbon swashes, which serve to connect two words or letters (This is so perfect for invitations, monograms) What's Include : Multilingual Support Thank You, Subectype

The 'VanderHand' font is a friendly and easy to use handwritten font. It is so loaded with ligatures it could easily pass for actual handwriting. The font was created with a felt-tip brush pen and so there are natural thick and thin parts in the characters. All writing was done upright with tightly fit characters. As a result this font has a unique 'instant logo' quality. But you should really try this out for yourself. O, and the font was written by Jeroen van der Ham. It's his handwriting. That's why it's called VanderHand.

The Tabac type system is a static typeface with modern shapes and distinct, wedge-shaped serifs. It is primarily designed for the setting of newspapers, magazines and books. Tabac boasts great variability in terms of letter weight in all of its styles. Each style works as a font of its own, featuring the full set of glyphs. The styles may be combined depending on the user; the choice of text and title face thus depends fully on the designer’s own taste, on the needs of the readers and the technologies of printing in use.

Danton is a serif dominated face with a crisp and distinct graphical flavor. Designed especially for use in magazines and newspapers, It is superb in headlines and, because of its solid structure, it is also an excellent choice for text applications. The Danton family consists of 14 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain small caps, ordinals, ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, and arrows.

Meet Aeroko, a slick variable typeface that evokes grit and speed, a dynamic play, a future–present competitive edge that evokes motorsport and all progressive brand design. This is a robust type system that creates memorable brand headlines. Powered by four display weights and three widths. Turbo-charged by a two-axes variable font. High performance brands can expect Aeroko to out-pace in every graphic condition. Aeroko is bold and assertive, it moves fast in headlines, it flexes when and where you need it. The forms are boxed and solid from Condensed to Wide, and they provide a distinct contrast when paired with rounder text fonts. Aeroko’s secondary power unit is harnessed from the ever adaptable variable font format. Variable font technology enables vast levels of typographic scale and expression, furthermore it allows Aeroko to react instantly in any digital space to maximize results. Aeroko evokes confidence, this is a typeface that actively encourages you to be courageous and daring with type in your own way. Brands demand distinct and robust typography, much in the same way that drivers demand pace. Aeroko meets these demands with ease, delivering assurance and weight across a valiant aesthetic. Aeroko is designed by Krista Radoeva and the Monotype Studio.

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. Cyan Sans evolved out of the hugely successful Cyan Serif family. Cyan Sans retains the same geometric Roman proportions with open centers in B,P,R b, d, p . This helps create a thick and thin stroke illusion since the actual strokes don't vary much. There are many subtle details in Cyan Sans that become more interesting in larger sizes. The beauty of Cyan Sans is that it has no features that "jar" the eye. The result is a very pleasing and distinctive sans that scales well. Cyan Sans is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". Blue as a primary color that has many hues and uses. Cyan the font, we hope will be seen in a similar light. Obviously Cyan Sans is a perfect companion to the Cyan Serif family.

Meet Bjorn. A super usable, digital-device ready type design, refreshingly unburdened by today’s pre-conceived notions of ‘digital neutrality’. This is a typeface driven by the notion that today’s ‘digital’ shouldn’t automatically mean the devolution of typographic personality, Bjorn brings a softer-side to the idea of pixel perfect brand comms. Solid digital typography can also convey a warm tone of voice, radiate a softness, a human emotive charm whilst still maintaining all of the functional on-screen requirements of crisp easy reading fonts across viewports. Bjorn is a distinctive type design that combines a unique blend of flattened round stems (to take the edge-off), levelled inner terminals (pixel friendly) and pointed ears and feet (creating an distinct rhythm and dynamic with bowled letters). Bjorn is not a typeface following a tried and tested pattern, it’s a typeface designed to make digital brands feel special, enabling speech in a voice that brings viewers closer to their words. Bjorn is warm, yet clinical, flat and curved, elliptical and pointy. The font’s strong sense of ‘straightness’, the letter proportions and features build up its versatility across digital environments, not too wide, not too narrow, not too pointy, not too round — just right. Bjorn is available in 4 Roman styles — Light, Regular, Medium and Bold.

Art deco The inspiration for FS Blake’s elegant, lightly geometric forms can be traced back to design of the 1930s; designer Emanuela Conidi was influenced by the typography of cool, European, art deco posters. FS Blake bears traits of the art deco style, from its thin weights to its heavy weights, giving a set of faces each with their own distinct character, but still with a strong family resemblance. Mechanical type Mechanical and organic shapes combine in FS Blake to create a harmonious whole of generous curves and cursive spikes. A strong, punchy contender in display sizes, it’s also got a gentle touch with small text in lighter weights. Lively, versatile and with plenty of character contrast between weights, the FS Blake family offers impact in whatever task it’s given.faces each with their own distinct character, but still with a strong family resemblance. Sketch book Great fonts still emerge from a combination of hand, paper and pencil. After filling her sketch book with ideas, Emanuela and Jason extracted the elements that both felt could work in a font. The process yielded a whole crop of starting points for future designs as well as a focus for FS Blake as a striking, characterful, almost industrial font.

Meet Aeroko, a slick variable typeface that evokes grit and speed, a dynamic play, a future–present competitive edge that evokes motorsport and all progressive brand design. This is a robust type system that creates memorable brand headlines. Powered by four display weights and three widths. Turbo-charged by a two-axes variable font. High performance brands can expect Aeroko to out-pace in every graphic condition. Aeroko is bold and assertive, it moves fast in headlines, it flexes when and where you need it. The forms are boxed and solid from Condensed to Wide, and they provide a distinct contrast when paired with rounder text fonts. Aeroko’s secondary power unit is harnessed from the ever adaptable variable font format. Variable font technology enables vast levels of typographic scale and expression, furthermore it allows Aeroko to react instantly in any digital space to maximize results. Aeroko evokes confidence, this is a typeface that actively encourages you to be courageous and daring with type in your own way. Brands demand distinct and robust typography, much in the same way that drivers demand pace. Aeroko meets these demands with ease, delivering assurance and weight across a valiant aesthetic. Aeroko is designed by Krista Radoeva and the Monotype Studio.

World Discovery is a stunning calligraphy font that exudes a sense of beauty, romance, and exploration. The artistic swirls and slanted serifs come together to create a distinctive, high-quality, and exclusive typeface that will bring an antique charm to your designs. World Discovery has its origin in 15th-century discovery maps. Designer Mans Greback procured maps from the state library, and the exquisite penmanship and intricate details on the map, showcasing the venture of exploration and the grandeur of the Age of Discovery, sparked the unique and evocative letterforms that now make up the World Discovery font. The font offers an impressive array of 19 styles, including six distinctive main styles, their italic versions, as well as light, regular, and bold weights, as well as a Swash style for added flair. Combining the fonts gives you infinite possibilities to create a truly customized typographical artwork. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

ATF Poster Gothic is an expansion of a typeface designed in 1934 by Morris Fuller Benton for American Type Founders. The one-weight design was a slightly condensed display companion to Benton’s ubiquitous Bank Gothic family. This new family of aggressively rectilinear headline types expands the design’s possibilities, offering 30 fonts. The all-cap design sports square corners in the counters, creating tension between angular and curved details; this feature, and the generally rectangular shape of the whole alphabet, makes ATF Poster Gothic distinctive on the page or screen, while its relationship to Bank Gothic makes it seem somehow familiar. Vertical strokes on the C, G, J, and S, as well as on several of the numerals, are cut off at an angle, which suggest the curves those strokes might typically display if the characters were less boxy in design and more along the lines of late-19th-century headline faces. Certain weights also recall the style of lettering used on athletic team jerseys, television crime dramas, action & adventure movie titles, and engraved stationery. With three widths and five weights, ATF Poster Gothic is distinctive and versatile at the same time. The full family is also available in a “Round” version, with corners subtly rounded for a softer, more “printed” feel.

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Distorted fonts are great but are mostly not very practical - 360 is an attempt to create a simple distorted font that can be used far beyond a few logos or headlines. Each 360 character averages roughly half the number of sharp angles of a regular sans serif. This gives it an unusually fresh and timeless appeal and creates a dynamic presence across body text that is very legible and compact without looking overly condensed. 360 was chosen as a name because it can be used as an everyday font, all year round, and because 360 has so many unusual angles that don't conform to normal font conventions. 360 also happens to be a cool number: 360 makes a highly composite number. 360 is also a superior highly composite number and a colossally abundant number. A circle is divided into 360 degrees for the purpose of angular measurement. 360° is also called round angle. 360 is a convenient standard since, 360 being highly composite, it allows a circle to be divided into equal segments with each segment measured in integer degrees rather than fractional degrees. 360 is the sum of a twin prime (179 + 181). A year is roughly calculated as 360 days.

The Younger Futhark, also called Scandinavian runes, is a runic alphabet and a reduced form of the Elder Futhark, with only 16 characters, in use from about the 9th century, after a "transitional period" during the 7th and 8th centuries. The reduction, somewhat paradoxically, happened at the same time as phonetic changes that led to a greater number of different phonemes in the spoken language, when Proto-Norse evolved into Old Norse. Also, the writing custom avoided carving the same rune consecutively for the same sound, so the spoken distinction between long and short vowels was lost in writing. Thus, the language included distinct sounds and minimal pairs that were written the same. The Younger Futhark is divided into long-branch (Danish) and short-twig (Swedish and Norwegian) runes; in the 10th century, it was further expanded by the "Hälsinge Runes" or staveless runes. The lifetime of the Younger Futhark corresponds roughly to the Viking Age. Their use declined after the Christianization of Scandinavia; most writing in Scandinavia from the 12th century was in the Latin alphabet, but the runic scripts survived in marginal use in the form of the medieval runes (in use ca. 1100–1500) and the Latinised Dalecarlian runes (ca. 1500–1910)

“Nasser” is a Kufic modern Arabic typeface. It is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It is very distinctive when used in black and white printout. It decorates colored pages and makes artworks more attractive. This font comes in three different weights. My father’s name is “Nasser”. Consequently, “Nasser” Typeface was designed for eternizing the memory of my late father. He was the person who taught me how to like arts, literature, and languages. Besides, my first cute child is named also “Nasser.” The main characteristic of “Nasser” Typeface is in its modern non-descender style for some of its Arabic characters such as “Sad”, “Seen”, “Sheen”, “Qaf” and others. The shape of the characters' “dot”, “dots”, and “point” is innovative; a triangle with a semi-circle shape. “Nasser” Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its characters' modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitions' signboards and external or internal walls of malls or metro’s exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

Youth Heritage Font is a vintage bold script font that pays homage to the rich visual heritage associated with youthful exuberance and retro aesthetics , This typeface combines bold, expressive strokes with a script style reminiscent of classic hand-lettering from bygone eras, capturing the spirit of vintage design. Here's a detailed explanation of the key features and characteristics of the Youth Heritage Font: Features: Vintage Aesthetics: The Youth Heritage Font is designed to evoke a sense of nostalgia, drawing inspiration from vintage typography prevalent during the mid-20th century, Its design elements reflect the bold and charismatic lettering styles associated with retro signage and advertising. Bold and Expressive Strokes: One of the defining features of this font is its bold and expressive strokes. Each letter is crafted with confidence, making a strong visual impact. This characteristic contributes to the font's ability to command attention and stand out in various design applications. Script Style: The script style of the font imparts a handwritten and personalized feel. The cursive letterforms flow seamlessly, creating a sense of dynamism and adding a touch of informality to the overall design. Distinctive Lettering: Each letter in the font is crafted with attention to detail, featuring unique and distinctive characteristics. This ensures that the font maintains its individuality and offers a distinct typographic personality. Applications: Vintage Branding: The Youth Heritage Font is well-suited for vintage branding projects. Apparel Design: Designers in the fashion industry can leverage this font for apparel branding and graphic designs. Its bold script style adds a retro flair to T-shirts, hoodies, and other clothing items, giving them a timeless and stylish appeal. Retro Signage: The bold and expressive nature of the font makes it a perfect choice for retro signage and display purposes. Event Posters and Flyers: When designing promotional materials for events, concerts, or parties with a vintage theme, the Youth Heritage Font can contribute to a cohesive and visually appealing poster or flyer design. Social Media Graphics: Its bold and expressive script style can make posts and announcements more engaging and shareable.

Prepare to be enchanted by the artistry of "Crispo," a font meticulously crafted through the delicate strokes of pointed pen calligraphy. In the world of typography, each character becomes a masterpiece, resonating with the eloquence of a brushstroke. Experience the Dynamic Elegance of Pointed Pen Mastery: Elegance with "Crispo" transcends mere quality; it embodies the essence of pointed pen calligraphy as a true masterpiece. The flowing lines and timeless grace of every character reflect the precision and artistry embedded in this refined craft. In the realm of fonts, "Crispo" emerges as a distinctive personality, each character meticulously handcrafted with a pointed pen. These letters aren't mere symbols; they roar with the passion and personality of a master calligrapher's ink, leaving an indelible mark on your creative endeavors. "Crispo" is more than a font; it's a genuine work of art inspired by the rich traditions of calligraphy. It serves as the embodiment of the pointed pen's craftsmanship, where each curve and ligature is shaped with meticulous care, inviting you to delve into the world of true artistic expression. The elegance within "Crispo" extends beyond appearances; it resides in the essence of each stroke. Every character, ligature, and swash is a testament to the beauty of pointed pen calligraphy, culminating in a font that stands unparalleled in its grace and sophistication. Whether you're crafting wedding invitations, establishing brand identities, or embarking on any project that craves distinction, "Crispo" unlocks the door to limitless creative expression. Courtesy of pointed pen calligraphy's mastery, this font becomes your brush, painting a story of elegance and distinction. "Crispo" is not just a font; it's a journey through the soul of pointed pen calligraphy. It encapsulates the brushstroke of a skilled hand, the dance of ink on paper, and the unwavering passion behind every character. Step into the enchanting world of "Crispo" and infuse your designs with the dynamic elegance and strong personality of pointed pen calligraphy.

Lindemann Sans is an immediately-inviting typeface with a pleasing distinct visual voice grounded by geometry and golden proportions. This modern geometric san serif typeface serves the interpretive needs of modern design through its legibility. This legibility is achieved through proportional balance of each letter based on the golden ratio, open counters, high x-height and wider individual shapes. In addition, a high level of legibility is arrived through distinctive glyphs like a, e, @, and f, which are engaging and add to Lindemann Sans visual voice. Being a modern, spirited, tech-savvy typeface, Lindemann Sans has many of the features demanded by today's designers. These features include 800 characters within each font, many ligatures, full numbers sets, small caps, alternative characters and other niceties found in opentype fonts. Due to Lindemann Sans high legibility, geometric sans tradition, and a large feature set list, it is a very versatile typeface and can be used in replacement of the more commonly used sans. Specifically, Lindemann Sans can be used by technology corporations, architectural firms in their supporting materials, in magazines as headers and key-points, as the typeface for professional keynotes, for the package design industry as a whole, in automotive concept projects, and for cosmetic branding for high class hair products. With its inviting nature it may also be used for liberal arts promotional materials. In addition, this typeface can be used by green industries because of its nature derived proportions. Each style and weight of Lindemann Sans adheres to the same geometric and golden proportions, however, each weight is innately noteworthy. For example, there is a charm that is found in the ultralight weight's elegant geometry and lights impressive use as oversized headlines. It shines with true clarity of vision with the book weight and the versatility of the medium. One cannot overlook the power and pacing of the bold and extra bold weights with its clear counters and restrained letter forms. Within Lindemann Sans family each weight has a distinctive role to play but stays true to its purpose.

Right now! FS Emeric reconciles a pair of seemingly opposing approaches: the systematic but chilly functionalism of early modernist typography, trapped in time, and a warmer, more emotional, more optimistic spirit. What Fontsmith created was something that marries precision with expression, geometry with movement, functionality with humanity. FS Emeric has a sharp, kinetic edge that cuts across design disciplines – graphic, fashion, product, automotive. It’s about what’s happening right now. Contemporary, optimistic, distinctive – a classic working sans serif. Appetite Discussions with some of Fontsmith’s design studio clients had revealed an appetite for a new kind of typeface that could express mid-century modernist principles in a fresh, contemporary voice. As he crafted the letterforms that would form FS Emeric, Phil Garnham was guided by two central ideas. First, there was Jan Tschichold’s contention that a good letter is “one that expresses itself, speaking with the utmost distinctiveness and clarity”. Second was a belief that a font can be personally expressive without compromising its functionality. These provided the fuel that drove the project to its conclusion. Posters To mark the launch of FS Emeric, Fontsmith asked 11 eminent design studios from around the world – the likes of Pentagram, Studio Dumbar, Bibliotheque, Non-Format and Build – to create a limited edition A1 poster. Each poster celebrated a different weight of FS Emeric, and just 50 of each were screen-printed by Dan Mather onto 175gsm Colorplan stock. “We gave away a randomly selected poster every time two or more weights of the FS Emeric were purchased,” says Phil Garnham. “They’ve now become somewhat of a collector’s item in their own right.” Superfamily In the spirit of Univers, the original font superfamily, FS Emeric now comprises 22 Roman and italic typefaces overall, making it one of the most versatile and functional modern fonts across all kinds of media, as well as one of the most distinctive.

Neutral and universal are two words that could describe a kind of perfection. The search for neutrality and universality is part of history in type design; it was specially important in the so-called Swiss Style. Samplex is a typeface that joins this particular search. The design gets rid of unnecessary elements and stays away from style conflicts. The large and slightly condensed body of lowercase letters makes Samplex a good choice for long paragraphs, and especially appropriate for screen devices. Letters with a blocky appearance give shape to a text in perfect order, ideal for grid lovers and layouts with a strict structure. The design of Samplex is clean and efficient. The diagonal cuts are reserved to the italic letterforms, setting some distance between the solid upright characters and the dynamic oblique forms.