Welcome to the world of Zekton. This typeface is not for the faint of heart. With its square letterforms and sharp edges, Zekton brings a brave, industrial look to your designs. The uniform line widths and smooth curves give this typeface a serious and professional feel, perfect for the world of consumer electronics. When you use the Zekton typeface, you’ll bring a fresh and modern AM/FM portable stereo fragrance to your designs. It’s like having a pocketful of transistors at your fingertips, ready to power up your creativity. And with a twinkle in its eye, Zekton promises to add a touch of excitement to every project. Zekton is available in seven weights, two widths, and italics for a total of 42 styles. This versatility makes it easy to find the perfect fit for your project. Whether you’re designing a sleek product brochure, a cutting-edge website, or a tech manual, Zekton has the style and range to help you stand out. So if you’re ready to take your designs to the next level, give Zekton a try. It’s the typeface that’s built to handle the toughest industrial challenges, and it’s ready to help you make a bold statement in the world of consumer electronics. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Picture it: a bustling city street in the 1920s, when the world was changing and women were fighting for their place in it. Billboards line the road, but one catches your eye—it’s Skygirls, a typeface that takes you back to a time when advertising was an art form. This typeface is no ordinary script. It’s a tightly wound, joined design that exudes elegance and urgency. Its steep angle draws the eye up, making your message impossible to miss. Skygirls is inspired by classic metal scripts like Herald, Signal, Hauser, Penflow, Veltro, Kurier, and Bison, so it’s no wonder it feels so timeless. With Skygirls, you’re not just writing a message—you’re making a statement. It’s the perfect typeface to convey the frantic, fast-paced style of the roaring twenties. Your words will flow seamlessly together, creating a sense of movement and momentum. And when you set it on an upward slope, it’s like your message is soaring to new heights. If you want to make an impression that lasts, Skygirls is the typeface for you. It’s a perfect fit for any project that requires a touch of vintage charm, and it will leave your audience with a lasting sense of style. So why settle for the ordinary when you can have something truly extraordinary? Choose Skygirls and let your message take flight. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

In comparison to the powerful and commanding original, Sancoale Gothic is a more sober version of Sancoale. The medium contrast between thick and thin strokes makes for a typeface that stands out with striking clarity in longer texts, yet is very readable. This new addition to the Sancoale family is a perfect alternative if you want to use a different style than the original family. Using the utmost care and restraint, the designer strove to avoid overbearing futurism in favor of a typeface with clean lines and clear forms. Show your customers the world with Sancoale Gothic, a versatile sans with a wide range of styles, from delicate thins to bold, hefty weights that dominate the page and screen with confidence and futuristic flair. A fresh, friendly voice for all kinds of uses, from corporate statements to fashion, Sancoale Gothic is a versatile sans with a wide range of styles, from delicate thins to bold, hefty weights that dominate the page and screen with confidence and futuristic flair. Sancoale Gothic has a distinct personality, which allows you to create a wide range of projects, including posters and websites. The Sancoale Gothic fonts come in many varieties, so you can go with a light or thick weight, depending on what fits your project best. With their sweeping curves, the heavy fonts are meant for huge headings on posters and websites. The Sancoale Gothic family is made up of 48 distinct styles, with 660 glyphs and supports 70 languages, allowing you to communicate with your customers all over the world. Small Capitals and other OpenType features abound! The design is sleek with no stems or spurs in the default character set, but OpenType alternates have alternates with stems. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. The superfamily offers an array of optical sizes, contrasting weights, and contrasting optical sizes to discover the right balance, contrast, and optical size for your design. Prepare to be blown away by Sancoale Gothic’s smooth curves and captivating allure. Sancoale Gothic is perfect for both a contemporary and forward looking style. Sancoale Gothic is both practical and unique, in a standalone capacity or with the companion Sancoale fonts. Use it to make an impact today.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Introducing Madriz, a slab serif font with a retro feel that's perfect for any project that needs a touch of old-school charm. With over 32 fonts in one font family, Madriz offers a wide range of styles to suit any need. You can choose from Thin to Black weights and Regular to Extra Expanded widths to create your perfect look. Madriz is inspired by the old-school signage of Madrid, Spain. The name "Madriz" is actually the affectionate nickname that Madrileños, the people of Madrid, gave to their city. The font's bold, blocky letters capture the essence of Madrid's vibrant and historic streets. Madriz's versatile nature makes it a great choice for a wide range of projects. Its bold, retro style is perfect for showcasing heritage brands or giving a modern touch to classic designs. Madriz can also be used to create a sense of nostalgia, making it ideal for retro-themed projects or campaigns. Here are some of the ways you can use Madriz: Titles and headings: Madriz's bold, eye-catching style is perfect for titles and headings. Text blocks: Madriz's wide range of weights and widths makes it suitable for text blocks, from body copy to large paragraphs. Logos and branding: Madriz's retro charm makes it a great choice for logos and branding. With its 32 font styles and support for over 90 languages, Madriz is an incredibly powerful tool for any designer. It can be used to create a variety of looks, from classic and elegant to modern and edgy. Whether you're working on a print project, a web design, or an app, Madriz has the potential to make a lasting impression. Madriz is the perfect font for anyone who wants to add a touch of old-school charm to their designs. With its wide range of styles and features, Madriz is sure to make a statement in any project. Would you like to get 5 completely free fonts worth over $75? No tricks, no hidden words, terms or anything. Just subscribe to my newsletter, make sure to check your email to approve the subscription, add me to your contacts so that the emails don't end up in spam folder and you will get 5 fonts for free. The fonts are packed with alternates, ligatures and some even come with extra goodies. Happy creating everyone!

Picture this: You’re sitting at your desk, staring at the same old boring font on your screen, and you can feel your eyes glaze over as you read yet another tedious document. Enter Squirty, the typeface that injects a much-needed dose of life into your words. Inspired by the vibrant promotional visuals of Japanese nightclubs from back in the day, Squirty is like a breath of fresh air in a stale room. Its hand-painted letterforms are quirky and playful, with a personality all their own. And don’t worry about being too rigid—Squirty’s unconventional style gives you permission to let your hair down and loosen up a bit. But that’s not all. If you’re lucky enough to have access to OpenType ligatures, Squirty takes things to the next level. Letter and numeral variations shuffle around automatically, so your words flow more naturally, like a conversation with an old friend. No more stuffy, robotic language—Squirty lets you be yourself. So why settle for boring when you can have brave? Give your words a personality all their own with Squirty—your new wingman in the design world. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

A friend once jokingly told me that what I really do is mine extinct arts for parts to use in modern things, like going to the scrapyard to pick up bumpers, quarter-panels and dashboards off of Datsuns and Ponies to build a shiny new Ferrari. I still kind of grin at that, but I certainly do spend a lot of time looking at old things and imagining ways they would work today. This shiny new Ferrari here is called Bibliophile, and it contains scrap heap parts from various pages by Louis Prang, the Prussian-American printer and publisher who inspired my Prangs fonts. This is my second engagement with the late 19th century man, and it’s quite a bit more intricate than just an italic Didone with a connected lowercase. Bibliophile marries Round Hand calligraphy with Italian capitals, two styles not often relayed in the same alphabet, but work together beautifully when combined well. When you combine them well with a few long-practised tricks of the trade, then mix in a few trusted features from my previous work over the years, you get my usual crazy exuberance, like 17 different shapes for the d, 21 different forms for the y, endings, beginnings, swashes, ornaments, and so on. It’s no secret that I can get carried away when I’m so consumed by an idea. — Bibliophile comes in 2 weights, each of them with over 900 glyphs covering all the latin languages. Bibliophile also comes with a bold weight, something I’m always reluctant to do with something as adventurous and complex as the structure of this historical mashup. But I couldn’t chase away the idea of increasing the contrast while maintaining the hairlines in a lowercase this narrow. Part of it was the curiosity about the outcome, and part was the sheer challenge of it. I think it turned out OK. Words set in either weight will show delicateness and elegance, and the more time you spend inside the font and micro-manage the setting, the more ways you will find to magnify either. Bibliophile can be as muted or luxurious as you want it to be. This is the kind of alphabet that fits well in fashion marketing and high-end packaging, from the very subdued to the super-exquisite. Enjoy the gleaming new vehicle made with freshly polished old parts.

I am thrilled to unveil my latest creation, the Elio & Oliver font family. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement. Named after the main protagonists of the beloved novel "Call Me by Your Name," Elio & Oliver is a testament to the power of passion, beauty, and the transcendent experiences that shape our lives. Just like their story, this font aims to evoke emotions and create a lasting impression. With nine meticulously crafted weights ranging from the delicate Ultra Light to the bold intensity of Black, Elio & Oliver offers a spectrum of possibilities. Each weight is thoughtfully designed to ensure versatility and harmonious visual aesthetics across various design projects. Intricate and purposeful, the font pack boasts over 30 ligatures that seamlessly combine letters, elevating the fluidity and legibility of your typography. These ligatures add an extra touch of sophistication to your designs, making them truly stand out. Recognizing the importance of language diversity, Elio & Oliver is equipped with full language support, enabling you to effortlessly communicate your message to a global audience. From English to Italian, French to Spanish, and beyond, this font embraces the richness and cultural nuances of different languages. Whether you're working on editorial layouts, branding projects, or digital interfaces, Elio & Oliver will infuse your designs with an air of refined elegance. It is the embodiment of style and grace, effortlessly capturing attention and leaving a lasting impression on viewers. Step into the world of Elio & Oliver, where every letter tells a story and every curve is a testament to the power of design. It's time to elevate your creative projects and evoke the spirit of Italian chicness with this exquisite typeface. Discover Elio & Oliver and let your designs speak the language of timeless elegance. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Elio & Oliver - Elegant Sans Serif Includes: Elio & Oliver Font Family - 9 Font Weights - From Ultra Light to Black Elio & Oliver Variable Font Over 30 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Rev up your design game with Expressway Soft, the sans-serif font family that brings a touch of automotive style to your projects. Inspired by the U.S. Department of Transportation’s FHWA Series of Standard Alphabets, this font has been the go-to choice for road signs across the world, from the sweeping highways of Australia to the bustling streets of India. With its soft, rounded corners, Expressway Soft captures the feeling of cruising down an open road, while its twelve styles—including six weights and italics—offer versatility and flexibility for any design project. Old-style and monospaced numerals make it easy to create eye-catching price lists and other tabular data, while the font’s focus on design over regulation allows you to truly unleash your creativity. Whether you’re designing a bold, attention-grabbing billboard or a sleek, modern website, Expressway Soft has the style and functionality you need. So why settle for a font that’s strictly by the book when you can hit the road in style with Expressway Soft? And if you’re looking for a more angular variant, be sure to check out Typodermic Fonts’ Expressway with squared-off corners. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Gravtrac is a slab serif headliner designed to deliver solid punches while taking up as little horizontal space as possible. Inspiration comes from mid twentieth century classics: Univers 59 Ultra-Condensed, Helvetica Inserat and Compacta. It’s all about flat sides, a steady rhythm and tight, precision curves. The widest style of Gravtac is Condensed—compact, yet a comfortable read, available in 7 weights from Ultra-Light to Heavy. Gravtrac Compressed is probably the width where most typefaces would quit. It's narrow enough for most...but not for you. That’s why we have Gravtrac Crammed. It’s audaciously narrow—perfect for times where you want the reader to slow down and truly pay attention to the message. Gravtrac Crushed is devilishly slender. Try it with wide tracking for a stark, opulent look. All styles are also available in obliques varying from 7 to 10 degrees—58 styles in total. Gravtrac includes Opentype fractions, numeric ordinals, a breadth of currency symbols and old-style (lowercase) numerals. Every skilled designer already has slab serif typefaces in their stockpile but some of us have the need to squeeze. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Fragilità, a captivating serif font that embodies the delicate balance of classic elegance and modern innovation. With its exquisitely crafted characters, high contrast, and subtle ligatures, Fragilità seamlessly blends the charm of yesterday with the spirit of today. Fragilità's unique design harmoniously blends elements of both retro and modern aesthetics. Its condensed letterforms evoke a touch of nostalgia, reminiscent of classic serif fonts from the past. Yet, the font's modern sensibilities shine through in its circular O, Q, and C characters, which retain their full circularity, adding a touch of contemporary sophistication. Fragilità's high contrast between the thick and thin strokes of its characters ensures exceptional readability across various mediums. Whether gracing the pages of a book, adorning a website, or captivating viewers on a digital screen, Fragilità remains effortlessly legible. Fragilità's extensive library of ligatures adds a touch of refinement and sophistication to your text. These intricate pairings of letters flow seamlessly together, creating a sense of continuity and elegance that elevates your written expression. Fragilità's comprehensive support for over 92 languages makes it an invaluable tool for anyone seeking a versatile font that can transcend cultural boundaries. With its adaptability to a wide range of languages, Fragilità ensures that your message resonates with audiences worldwide. We understand that quality fonts shouldn't be a luxury reserved for a select few. That's why Fragilità is available for an incredibly affordable price of just $24, making it accessible to designers and creative professionals of all levels. With its exquisite design, exceptional readability, and ligature-rich character, Fragilità is a font that will elevate your creative projects to new heights. Whether you're crafting elegant body text, designing eye-catching headlines, or creating captivating marketing materials, Fragilità will add a touch of timeless elegance and modern sophistication to your work. Embrace the delicate balance of classic charm and modern innovation with Fragilità, your new go-to serif font for all your creative endeavors. Would you like to get 5 completely free fonts worth over $75? No tricks, no hidden words, terms or anything. Just subscribe to my newsletter, make sure to check your email to approve the subscription, add me to your contacts so that the emails don't end up in spam folder and you will get 5 fonts for free. The fonts are packed with alternates, ligatures and some even come with extra goodies. https://view.flodesk.com/pages/63594052b967a943dd6cc528 Happy creating everyone!

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

Here is another design by jewelry designer Max Joseph Gradl. Zier is a verb, meaning to decorate, adorn or ornament; zierlich means decorative, elegant, fine, neat. Schrift means type. Zierschrift, therefore, means decorative type. Gradl Zierschriften is a decorative type in the Art Nouveau style, rather than the more ornate Victorian style. Very modern, very young, with an elegant simplicity of form. Maria Makela, in her book The Munich Secession (Princeton 1990) suggests that the frequent use of simple, flowing, organic forms that was so characteristic of Art Nouveau was a reaction against the growing complexity and rapid urbanization that resulted from 19th century industrialization. In keeping with that reaction is the hand-drawn quality that intentionally rejects a mechanistic mathematic precision of line rendering. Gradl Zierschriften preserves that hand-drawn quality. Designed with upper case only, this face was obviously intended for short headlines only and is best set at 18 points or larger. However, I don't think you really get to experience the grace of this design until you get to 36 points or more. In the larger sizes, it is simply stunning. Please note that while most of the uppercase letterforms are repeated in the lower case for convenience, the ‘F’,‘L’ and ‘T’ are rendered a little narrower than in the uppercase to provide for visual variety. The font also includes a generous supply of ligatures for just the right fit ... and just for the fun of using them. Three common ways of inserting a ligature, accented letter or other special character are: 1) Key in “ALT”+“0”+[ascii #]; for example ALT+0233 for the e-acute, 2) From within your application program, go to the INSERT menu and look for something like “Insert Symbol,” (this function is NOT available in all application programs) & 3) Cut & Paste from the CHARACTER MAP display that has been supplied by every generation of Windows Operating System that I can recall (All Programs>Accessories>System Tools). Isn't it amazing what you can do? Don't be afraid to experiment. If you back up your work, you have very little to lose and a lot to gain. Not only do you acquire a new tool, but by the very process you have learned how to continually expand your knowledge and skill base.

NOTE : If you want any specific ligature included, just write me a message and I will add it with next update :) Type Master is a sophisticated and delicate serif font that exudes elegance in every aspect. With its extensive collection of over 100 ligatures and alternate glyphs, this font offers endless possibilities for creative expression. Additionally, its support for 87 languages ensures that it is versatile enough to meet the needs of any project. Whether you are designing a logo, creating marketing materials, or crafting an editorial layout, Type Master is the perfect choice for adding a touch of refinement to your work. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : IS, FO, OD, FA, TY, EX, NN, PI, EY, AY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, FAS, FAST, CKS, OOD, FOOD, FOO, THEY, HEY, HYP, TYP, OUT, UST, URS, WAS, THE, WES, EST, WEST, ERS, EAST, EAS, LES, ENT, FOR, OUG, OUGH, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. UPDATES : COMING SOON Mock ups and backgrounds used are not included. Thank you! Enjoy!

Think smart. Think regal. Think SteamCourt, a new font designed specifically for the card game SteamCourt. A bit of background if you will: In early 2014, some friends from my college days banded together to form their own game company. Their first launch? A current Kickstarter they named SteamCourt. I love Kickstarter. It’s a fantastic platform, a great way for individuals to introduce the public to their visions. I've started a couple of them myself--both including fonts designed specifically for the projects. The first is Chatype, a font created exclusively for the city of Chattanooga. The second: Cabrito, a font developed as part of the children’s typeface book, The Clothes Letters Wear. It’s wonderful to work with so many others who come alongside to help you vision become reality. Naturally, hearing of my friends' project, I contacted them about adding a new face to their venture as well. I gave them carte blanche. They wanted steampunk. It was a great challenge, the result of which is now SteamCourt, an unforgettable display typeface that draws from the mix of Victorian regals, metallic and brass engineering, cogs, clocks and blackletter typography. It evokes a time of skillfully forged metalwork and an era of intrigue and excitement, filled with audacious feats of engineering and innovation and the perilous journeys of the airship. While influenced by the era of blackletter, SteamCourt is an unmistakable departure from the style of two centuries past, yet it still shines in its given display roles with a distinct regal twist. The serifs are asymmetrical, yet the characters are all specially and delicately balanced. It’s an eye-catching alternative to blackletter with modern steampunk touches. The game’s signature typeface has sizeable language support on top of 90 alternate characters as well. In addition to a generous number contextual alternates, SteamCourt features stylistic alternates that allow for buyers to customize its visual appearance for their preferences, helping to make it a superior option for packaging, branding and enormous typesetting logotypes as well as shorter textual content. Check out the game, but grab the font, too, to be a part of that crib created as a companion for the new game in court. It'll be the ace up your sleeve for many rounds of design ahead.

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."

Aire is what Sproviero would call a < big display family >. We recommend seeing its user’s guide. After his success with Reina, Sproviero comes out with this big family of 7 members: Each of them loaded with lots of sophisticated ligatures, alternates and the entire cyrillic alphabet. The overall impression that the font gives is lightness and delicateness; that’s the reason the designer chose to call it Aire, or Air, in English. "Aire was somehow having a rest from my fat face Reina [...] It started as a really thin style of Reina, but it rapidly migrated from it and grew up alone. And how it grew..." The inspiration came from his own past creations: “The heavy strokes of Reina were shouting for a more delicate thing. Something more feminine. More fragile. Something which had a lot of elegance and fresh air inside”. Aire responds to this: Sproviero found that many of the typefaces of nowadays which are used for headlines (best known as display fonts) have almost always just one, maybe two weight styles. This was his opportunity to try something new. Aire makes it easier for the user to generate different levels/layers of communication thanks to its variety of styles. With this font you can solve entire decorative pieces of design with just one font, and that was the aim of it. Aire was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. On March of 2012, Aire was chosen to be part of the most important exhibition of typography in Latinoamerica: Tipos Latinos 2012. TECHNICAL Aire is a family with many members. In total, the user can choose between almost 6,000 (!) glyphs (1,000 per style). Each member has variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Every decorative glyph has its weight adjusted to the style it belongs to. Exclusively for decoration, Aire Fleurons Pro is an open-type programmed set of ornaments. And last but not least, remember Aire is delicate. What’s my point? It is not recommended to activate all the alternates at the same time. It is typo-scientifically proved: A maximum of 3 or 4 alternates per word would be more than enough.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

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

Neuropol Nova is more than just a typeface, it’s a portal to a world of hard sci-fi design. Inspired by Neuropol X, this typeface transports us to a chilling and distant future, one where letterforms are stripped down to their most essential components. The stark, almost clinical aesthetic of Neuropol Nova is reminiscent of a high-tech laboratory or the sterile environment of a spaceship’s bridge. Neuropol Nova pushes the boundaries of letterform recognition to levels that are truly ultra-futuristic. The sparsely connected patterns that make up the letters evoke a sense of ancient cuneiform markings, or perhaps even the language of a highly advanced alien civilization from a distant, unknown future. The choice of three widths, three weights, and italics only adds to the versatility of this incredible typeface. With its strategic overtones, Neuropol Nova is ideal for any designer looking to create a design that screams of a dystopian future. Whether you’re working on a sci-fi novel cover or a video game interface, Neuropol Nova is the perfect typeface to transport your audience to a world of cutting-edge design. In conclusion, Neuropol Nova is more than just a typeface, it’s a masterful creation that seamlessly blends the past, present, and future of typography. So if you’re looking for a font that will truly set your design apart, look no further than Neuropol Nova. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing incredible COLOR ANAGLYPH font. Unique font family with anaglyph stereo effect - a novelty in the field of color fonts. Inspired by global trends in contemporary design with a touch of retro 90s, electric music and minimalistic purity of glyphs. Truly a reflection of modern POP culture. Font is ideal in entertainment design. Night club poster design, fashionable business card, website title, magazine illustration - there are countless options for using it. Font family has two thicknesses - bold & regular, 3 types of stereo effect, 2 font colors with stereo effect (black and white). Font consists of letters of the same height without division into uppercase and lowercase glyphs. This font family is based on the Regular & Bold fonts Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 36 OTF SVG fonts in the family 2 thicknesses: Bold, Regular 3 types of stereo anaglyph effect 6 font colors with stereo effect Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Developed over several years by the late Otl Aicher and first released in the late 1980s, the Rotis® typeface has become a timeless classic. ROTIS II SANS HISTORY Aicher was a renowned German designer and corporate image consultant. He created the four basic designs of Rotis – sans serif, semi sans, semi seif and serif – within an extended typeface family concept, wherein all designs share a common cap height, lowercase x-height, basic stem weight and general proportions. While each version is part of the large, integrated family, each was also designed to function on its own as a distinctive typestyle. The result is that all members of the Rotis family combine smoothly with each other. Aicher, however, did not design the Rotis family with the weights and proportions normal for more contemporary releases. Rotis Sans Serif, for example, was drawn with just six weights and only two italics. Starting in 2010, Robin Nicholas, senior designer for Monotype Imaging in the UK, and freelance designer Alice Savoie collaborated to bring Rotis Sans Serif up to current standards. The result is Rotis II Sans, a completely new addition to the Rotis family. “We devised our approach together,” recalls Savoie, “deciding which weights to start with, what kind of alterations to make to the original Rotis, etc. I went to work on the typefaces, regularly submitting proofs to Robin. We would then decide in tandem on the next steps to take.” Nicholas elaborates, “We revisited the range of weights and added matching italics so that the new additions to the family offer increased versatility. We optimized the outlines, corrected the weight of several letters and re-examined overall spacing and kerning. In addition to a new set of numerals, with a height similar to the capitals, we also drew case-sensitive punctuation.” ROTIS II SANS USAGE The new Rotis II Sans suite comprises 14 typefaces: seven weights, ranging from extra light to black, each with a companion italic. The designs are available as OpenType® Pro fonts, allowing for automatic insertion of ligatures and fractions. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Aicher’s original Rotis designs were widely used for branding and advertising. With the addition of Rotis II Sans, the family is again poised to become a powerful communicator.

Introducing space-bright COLORED hologram font. Soft color transitions combined with minimalistic clean glyphs. Ideal for modern web and print design. Excellent readability of glyphs for both the title and the large volume of text is preserved. Multi-colored modern family with different types of coloring - a highlighted gradient border of letters or fully hologram glyphs - a large selection of 11 ready-made font styles. Originality of the font will fit well into the fashionable logo, headline in the magazine or on the website, emphasize the trend of the product in branding and complement web advertising on social media. This font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 11 OTF SVG color fonts in the family Free Demo font to check it works. Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Attention, design enthusiasts and space enthusiasts alike! Are you looking for a typeface that embodies the futuristic spirit of NASA and the excitement of space exploration? Look no further than Nasalization, an ultramodern sans serif font that takes inspiration from the iconic NASA logo of 1975. Nasalization is the perfect choice for any project that requires a touch of high-tech sophistication, from scientific research papers to sci-fi novels to sleek website designs. With its six weights and attention-grabbing italics, Nasalization offers versatility and visual impact in equal measure. But what really sets Nasalization apart is its dynamic design features. With the slanted “M” and “W” characters, this font is truly out of this world—the letters will automatically flip or straighten up depending on their surrounding characters, thanks to its OpenType-savvy programming. And if you prefer a more traditional look, you can easily turn off the flipped-letter effect by disabling the “standard ligatures” function in your design software. For even more customization options, Nasalization offers an OpenType “stylistic alternates” function that allows you to add a crossbar to the “A” character, giving your designs an extra touch of style and sophistication. So whether you’re designing a logo for a space-themed startup or crafting the perfect cover for your sci-fi novel, Nasalization is the typeface that will take your designs to new heights. Choose Nasalization and experience the power of NASA-inspired design today! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Storehouse Font is an old fashioned typeface with a modern touch. Inspired by tradition, hardworking brewers and 1800s it come up with 10 strong, confident and powerful styles, included: Regular, Italic, Thin, Black, Outline, Shadow, Used, Wide, Soft and Stencil. The font looks great when put on signs, shirts or labels of the bottles. Also, it works perfect as font for a branding and commercial uses. What is included: Shapes: 1.Storehouse Shapes EPS – EPS file 2.Storehouse Shapes PDF – PDF file Fonts: Storehouse Regular - OpenType font file - Regular old fashioned typeface with a modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Thin - OpenType font file - Thin version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Wide - OpenType font file – Wide version, big spaces. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Black - OpenType font file - Extra, extra bold version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Outline - OpenType font file – Outline version of regular version, amazing in matching with regular version as a back shadow. full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Shadow - OpenType font file – Old fashioned shadow of regular version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Italic - OpenType font file – Regular version with smooth edges. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Soft - OpenType font file - full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Stencil - OpenType font file – Stencil font with amazing old fashioned modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Used- OpenType font file – Softer edges, smooth lines. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Multilanguage Support: English, Albanian, Danish, Dutch, Estonian, Croatian, Bosnian, Slovenian, Finnish, French, German, Icelandic, Italian, Norwegian, Portugese, Spanish, Swedish with a lot of other languages; see Full Character List. Note: To access the extra alternate letters, you will need to use the glyphs panel. Many design programs offer this ability, including Adobe Photoshop CC 2015 , Adobe Illustrator, Adobe Indesign. Works with Cricut, Silhouette, PicMonkey, Photoshop, Illustrator and many more applications!

Imagine being printer in the early nineteenth century, your stock isn’t the finest, your lead characters are worn out: Voilá Kandidat Rough. But wait, Kandidat isn’t the usual scan-an-old-book,-put-the-glyphs-in-a-font-and-you’re-done-font. Kandidat Rough has a variety of whopping 14 alternates for most characters. Our algorithm changes the letters automatically. All you have to do is turn on Contextual Alternates in your layout app. The algorithm is the best we’ve seen so far, and it’s so good that even same words appear in different forms. And should by coincidence words have the same glyphs, just assign a different Style Set to the first letter, and all other letters in the word will change as well (well, it depends a bit on your software). The mechanism isn’t perfect and maybe we stretched OpenType capabilities a bit over the top, but we yet haven’t seen any better routine for switching letters on the fly. Is it worth to mention that Kandidat Rough not only speaks English, but also German, French, Spanish, Dutch, Danish, Norwegian, Swedish, Croatian, Turkish and most likely some other languages? Maybe. To be sure whether your language is supported, this is the typeset of all letters: ABCDEFGHIJKLMNOPQRSTUVWXYZÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝĆČĐĞ݌ފŸŽ abcdefghijklmnopqrstuvwxyzàáâãäåæçèéêëìíîïñòóôõöøùúûüýÿćčđğıœşšž Apart from that we also included the following punctuation and currency symbols: !"#$%&'()*+,-./:;?@[\]_{|}¡©«®°±¶·»¿×–—‘’‚“”„†•…‹›⁄≠☞ €¢$£¥ This sums up to nearly 3000 glyphs per font, and we have three of them: Regular, Italic and Bold. All neatly kerned. All in all a great repertoire for even the most demanding book or advert jobs with a look of old times. And now imagine you are sick of the rugged print experience Kandidat Rough delivers: go for Kandidat. This is our Scotch-ish ancestor the Rough version was made from. A sturdy, friendly, round, warm friend from the beginning of the nineteenth century. A bit dark, maybe. You will like it. Kandidat has the aforementioned type set plus complete Baltics, Eastern Europe and Cyrillic. Plus a couple of gimmicks like fleurons, stars, circled numbers, arrows, and, and, and… Kandidat Regular additionally has small caps for Latin based scripts (not Cyrillic). The spick and span Kandidat font set also consists of Regular, Italic and Bold cuts. The bold cut is on the very bold side and can nicely be used for headings, whereas Italic is a great companion for Regular. It took us some time and trouble to finish this project, but after all we are very proud of our little feat and hope you will enjoy Kandidat as much as we do. Enjoy!