DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Standing tall as an Illinois cornfield in September, Cornhusker Regular is a strapping condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & charming characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Regular is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Regular includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

Fortima is a 12 style angular sans serif that utilises subtle modular shapes, designed by Stew Deane. The result is a font with character that adapts to a variety of sectors and brands, and is suitable for anything from advertising and branding to web and screen. The angular shapes help create a unique aesthetic that are instantly recognisable and have impact and character in large or small sizes.

For some reason I had Paul Simon’s song ‘You Can Call Me All’ in my head when I was busy working on this font, so I just had to call it Bonedigger. Bonedigger does not dig bones, but it does have ‘heavy bones’, as it is quite big. Bonedigger is seriously eroded and would look great on book covers and product packaging. It comes in a lovely regular and italic style and a seriously twisted inline style (with, of course, its own italic). As the song goes: With a knick-knack paddywhack, give the dog a bone, this old font came rolling home.

Franklin Stone is a organic hand drawn typeface inspired by vintage type with hand drawn feel. Comes with regular, condensed and stamp. This typefaces is perfect for people looking for vintage aesthetic. Suitable for any graphic designs such as branding materials, t-shirt, print, logo, poster, t-shirt, quotes .etc You may not use the fonts in templates or for sale/free or on template websites. ( web/print/app ) We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Regards, Ironbird Creative

Liberteen is a display typeface combining contemporary sharpness of lettershapes and post-modern irony in details with historical roots. The typeface is based on slab-serif faces of the 19th century including famous Clarendon. Liberteen is not a revival but rather a free interpretation of traditional design. Its lightest and darkest styles work perfectly in extra large sizes and Regular is suitable for a short text setting. Liberteen is a proper typeface for putting together allusions to the 19th century type revolution and a contemporary layout. The typeface was designed by Alexander Lubovenko and released by ParaType in 2015.

North Block is a true sports branding classic. It's timeless shapes and features will give you an instant athletic feel to your project. North Block Regular got chamfered corners for that powerful and edgy visual performance and North Block Soft has rounded corners for a softer, more subtle approach. These fonts are perfect for sports logos, branding, posters, apparel design, magazine headlines, labels and so much more. North Block features a character set with support for most western languages including: Afrikaants, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish.

The hand lettered title found on the cover of the 1932 sheet music for “Dancing Marathon” inspired the digital revival of this unusual lettering as well as the font’s name. This eccentric Art Deco design (with a slight bit of Art Nouveau mixed in) is a thin, monoline typeface. Dancing Marathon JNL is available in both regular and oblique versions. Dance marathons got their start during the Great Depression as people desperate to earn a few dollars would enter into contests that went on for hours until the last couple remained standing on the dance floor.

Donald DBXL Beekman needed a break. And he took it too. While sitting there consuming a sandwich and a half-pint of milk, he took up his ruler and pencil. By the time there was no milk left and only some bread crumbs remained on his plate, VLNL Breakz was finished. That’s DBXL for you. Get your letters during your break. VLNL Breakz was originally designed as the headline and logo font for the breakdance competition Amsterdam Breakz, but turned out to be very versatile. It has 4 variations, Regular and Condensed widths / Bold and Light weights.

Grotesk Polski FA developed in 1998-2006, was inspired by the Polish eminent pre-WWII text typeface - Antykwa Półtawskiego. Adam Półtawski designing his antiqua had took into consideration the special qualities of Polish language. He designed unique letters: k, w, y, z and R, K, Y. Another unique element of his typeface was polygonal dot. Grotesk Polski keeps all that shapes and goes further. It is a contemporary sans serif in four cuts: Regular, Italic, Bold and Stencil. The proportions of the typeface were rebalanced to give it a neo-grotesque form with a Polish twist.

Ritz Slab Serif JNL is a bold display face which shares a lot of similar design traits to Stymie and other similar metal type of the 1930s and 1940s, but in actuality was modeled from only four letters. On the sheet music for the 1937 song "Sweet Varsity Sue" [from the 20th Century Fox Film "Life Begins in College"], there is a picture of the Ritz Brothers - a popular comedy team from 1925 through the late 1960s. The hand lettered name "Ritz" became the basis for Ritz Slab Serif JNL, which is available in both regular and oblique versions.

Telegramo is modeled on a historic telegraph from Belgrade to Vienna 1914. The original archetypal character set consists of lowercase letters and numerals only. Uppercase letters and special characters were added after careful research. Contact pressure variations of the rudimentary type writing machine are directly imitated in the three weights: the regular weights edges are sharp, medium edges are rounded and the bold letters can nearly be called soft. Since the original typeface did not seem perfectly suitable for modern desktop publishing purposes, two additional stylistic sets were created for each weight, improving certain issues in rhythm, legibility and quirkiness.

Orange Milk is a quirky and fun script full of charm With 2 version Regular and Line . It will take any DIY-project to the next level! Orange Milk is perfect for Craft , product packaging, product designs, label, branding projects, logo, wedding designs, social media posts, advertisements, watermark, invitation, stationery and any projects Simple installationsAccessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

Carmencita is a typeface specially designed to give graphic products that hand-made feeling, slightly rustic with a handcrafted touch. It was created with a focus on signage, products and graphics that need to convey closeness, warmth and quality. It includes a set of ornaments that reinforces that gestural mark, and helps to customize logos, banners, posters and other design pieces. Its two versions, bold & regular (in addition to the alternate characters), can be combined to increase even more the amount of resources and possibilities of Carmencita.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Bebedot originated from doodles and scrabbles in notebooks; irregular forms very well might contain a style for an alphabet. Once used for an intro spread in Wired magazine (#6.04, April 1998): "To keep up you need the right answers. To get ahead you need the right questions". The name was inspired by a women clothing poster at the San Francisco bus stands. The dot is for the com that never came.

ITC Silvermoon was designed by Akira Kobayashi in the style of the advertisements of the 1920s. Art Deco was the artistic movement which marked the years between the two world wars, combining elements of Jugenstil, futurism and east Asian influences. This font carries on in that tradition. The small, high reaching figures with their elegant forms and reserved but distinguishing loops give Silvermoon its unmistakable look. Kobayashi designed this font in two weights, regular and bold. To retain the elegance of the bold weight, the consistent stroke width of the regular weight was exchanged for contrasting strokes. This gives the weight more weight without detracting from its grace. The nostalgic, romantic ITC Silvermoon is best used for headlines and short texts in point sizes of 12 and larger.

Sagobi - Fun Display Playful Font Sagobi is a fun display playful font create with natural handwritten type with 3 alternates weights; light, regular and bold. Sagobi Playful Display Font is suitable for greeting cards, invitations, posters, baby clothing, books cover, quotes, logos, presentations, headline etc. Sagobi will turn any creative idea into a true piece of art and ready to make your design looks great and fun! Features; - 3 Weights; Light, Regular and Bold - Standart and special ligatures - Uppercase, Lowercase, Number, and Punctuation - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. - Mültîlíñgúãl Sùppört for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy our font and this font is useful font for your projects!

California Signature is the perfect blend of Luxury and Unique. California Signature is a set of Seven modern fonts: upper and lowercase serifs and stylized script. The subtle curves of the serifs create a feminine feel. California Signature is perfect for logos, social media posts, invitations, and many other projects. It comes with multilingual support as well. These notes include: • California Signature Script Regular / Bold • Thin and realistic signature font containing 24+ ligatures and substitutes, lowercase, uppercase, all punctuation & numbers. • California Signature Serif Regular / Italic / Outline / Bold / Heavy • California Signature supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian. I hope you enjoy this font. If you have any questions, feel free to message me :)

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. During the 80’s and 90’s, a lot of these logos leaned towards the geometric sans styles and the swiss styling of fonts like Handel Gothic, while playing with varying degrees of squared rounds and varying expanded widths per logotype. Mercurial has this flavor, but it wasn’t derived from logotypes. Instead, it began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Sam". It visual ties to this genre of automotive logotypes and fonts like Handel Gothic lend a familiarity to it, yet it has an identity all its own. As with so many automotive logotypes, this singular style film typeface, lacked an expansive family which shows off all potential the logotypes have and what they "could" be and do. And that's where we come in. What originally began as this family’s Regular Width - Bold Style has been expanded into a collection of 3 Width Families, each containing 5 Weights. Here’s what’s included with the Mercurial Complete bundle: 396 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the final poster graphics for a preview of the characters included) 3 widths in the collection: Narrow, Regular, & Wide 5 weights in each width family: Light, Book, Regular, Medium & Bold. Here’s why the Mercurial Family is for you: - You’re in need of stylish sans font family with a range of widths and weights. - You’re love those 80’s automotive logos, but want more range of use. - You’re looking for an alternative to Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Tuned Rompies is a retro and bold display font. It would look great on headlines, magazines, logos, branding and so much more! What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates Multilingual Support Regular & Slant PUA Encoded