Rev up your designs with the bold power of Hemi-Head, the square industrial typeface inspired by the classic muscle cars of the 60s and 70s. Its audacious letterforms and stylish gaps will give your message a commanding presence, instantly conveying authority and technologically superior design. With its sleek, constructivist squareness, Hemi-Head is the perfect typeface for any project that demands strength, speed, and raw power. From high-performance automotive advertising to cutting-edge tech branding, Hemi-Head delivers the perfect blend of style and substance. Available in 8 versatile weights and italics, Hemi-Head offers a wide range of options for any project. Choose the style that best suits your needs, from the light and nimble to the heavy and powerful, and add a touch of italicized style for even more visual impact. So whether you’re looking to create a design that demands attention, or simply want to add a touch of muscle car style to your next project, Hemi-Head is the perfect typeface for the job. Embrace the bold, square industrial aesthetic of the 60s and 70s, and let your designs roar with power and precision. 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 is a fun and playful pouty Baluno font. Font has embodied the graphic trend of cartoon flat illustrations and will successfully complement modern designs. The font has 2 types of faces, which can be used both independently and together by alternating letters in one word to avoid repeating letters, creating a unique heading. Family is ideal for children's themes, because the font resembles inflated balloons. Creates a relaxed mood and has fun. Set comes in many different carefully selected colors and gradient color options. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Baluno Color" on: ld.luxfont@gmail.com Features: Free Demo font to check it works. 2 types of faces. Lots of ready-made matched colors. Gradient color variants. Kerning. IMPORTANT: - 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 other 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

Unleash your inner street artist with Rocket Queen! The definitive font for urban self-expression. Inspired by the bold strokes of tagging graffiti markers found on city walls, this font encapsulates the raw energy of the streets. Its uppercase and lowercase characters ensure versatility, while support for foreign languages guarantees global appeal. Graffiti artists worldwide adore its iconic rounded tip marker style for its unique and entertaining aesthetics. Rocket Queen's "Urban Tags" font is more than just a typeface; it's an urban art form. Designed with a nod to the vibrant world of graffiti scenes, this font embodies the spirit of tagging graffiti markers, creating a gritty, authentic experience. With full support for foreign languages and both uppercase and lowercase characters, Rocket Queen empowers your creativity. Its iconic rounded tip marker style, favored by graffiti artists globally, offers a unique and entertaining touch to your designs. Plus, it's enriched with street graffiti ornaments for that added urban flair. Rocket Queen is more than a font; it's the language of rebellion and urban creativity. Drawing inspiration from the bustling streets and tagging graffiti markers, this font captures the raw spirit of street art. Its iconic rounded tip marker style, beloved by graffiti artists worldwide, sets your designs apart with a unique and captivating aesthetic. Supporting foreign languages and featuring a complete set of uppercase and lowercase characters, Rocket Queen is your canvas for bold, edgy statements. Step into the world of street art with Rocket Queen, a font that embodies the raw spirit of urban graffiti. Inspired by the legendary rounded tip marker style, this font captures the essence of tagging in the streets. Its captivating, one-of-a-kind design is favored by graffiti artists across the globe. With support for foreign languages and a full set of uppercase and lowercase characters, Rocket Queen is the ultimate choice for artists who want their work to resonate with the vibrant, rebellious energy of the graffiti scene. And, don't forget to explore the collection of street graffiti ornaments to take your designs to the next level! "Rocket Queen" font is perfect for a wide range of creative and artistic applications. Here are some ideal uses for this unique and edgy font: Graffiti Artwork: Use "Rocket Queen" to create authentic graffiti-style artwork on canvas, walls, or digital platforms. Its street-inspired design will add an urban, edgy vibe to your work. Streetwear Brand Logos: Design logos and branding materials for streetwear clothing lines or urban fashion brands. The font's bold and expressive style is a great match for this niche. Event Posters and Flyers: Create eye-catching event posters and flyers for music concerts, art exhibitions, or street festivals. "Rocket Queen" will help your event materials stand out and evoke a gritty, streetwise feel. Album Covers: Design album covers for music genres like hip-hop, rap, punk, or any style that demands a rebellious and energetic look. The font can give your cover artwork an authentic street vibe. Tattoo Lettering: Tattoo artists and enthusiasts can use "Rocket Queen" for lettering in tattoos. Its unique graffiti-inspired characters can create distinct and personalized tattoos. Skateboard Deck Graphics: Use the font to design custom graphics for skateboard decks, reflecting the rebellious and urban culture of skateboarding. Street Art Installations: If you're creating street art installations, "Rocket Queen" can be used for text elements within the artwork, giving it an authentic urban graffiti feel. Urban Magazine Titles: "Rocket Queen" can be an ideal choice for magazine titles and headlines in publications that focus on urban culture, street art, or graffiti. Video Game Titles and Graphics: Design video game titles, logos, or in-game graphics for games with an urban or street culture theme. The font's distinctive style can enhance the game's visual appeal. YouTube Channel Branding: Content creators with a street art or urban lifestyle focus can use "Rocket Queen" for their channel logos, banners, and thumbnails. Product Packaging: For products targeting a youthful, urban audience, the font can be used in product packaging design, making the brand and product look fresh and exciting. Digital and Print Advertisements: Incorporate "Rocket Queen" in advertising campaigns that aim to connect with a young, rebellious, or urban demographic. The "Rocket Queen" font is versatile and can be adapted to a wide range of applications where a bold, streetwise, and artistic look is desired. It's all about bringing an authentic graffiti vibe to your creative projects. ——— Rocket Queen features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +345 Total Glyphs +100 Graffiti Swashes and Ornaments included!

Lyra is an Italian Renaissance script that might have developed if metal type had not broken the evolution of broad pen calligraphy. It lies in the area between the humanist bookhand and the chancery cursive, combining the fullness and articulation of the Roman letters with a moderate italic slant and condensation. A steep pen-angle allows use of a broader pen relative to the x-height, giving the letters more contrast with light verticals and heavy curves. Lyra embodies the Renaissance spirit of refining technical advances of the late middle ages with reintroduction of ancient classical principles. Based on the moving penstroke with constantly changing pen-angle, it brings the vitality of handwriting to the ordered legibility of type. Lyra is a formal italic, too slow for copying books. By eliminating the element of speed, digital technology opens up a new level of calligraphy, bringing it into the sphere of typography as would naturally have happened if metalworkers had not controlled the process. If classical Western traditions are respected, digital calligraphy has the potential to recapture the work of the past and restart its stalled evolution. There is of course no substitute for the charm of actual writing, with each letter made for its space; but the tradeoff is for the formal harmony of classical calligraphy as every curve resonates in tune with every other. This three-weight font family marks Philip Bouwsma's much-requested return from a three year hiatus. It also reminds us of his solid vision in regards to how calligraphy, typography and technology can interact to produce digital beauty and vesatility. Each of the three Lyra fonts contains almost three character sets in a single file. Aside from the usual wealth of alternates normally built into Bouwsma's work, Lyra offers two unique features for the user who appreciates the availability of handy solutions to subtle design space issues: At least three (and as many as six) length variations on ascending and descending forms, and 65 snap-on swashes which can be attached to either end of the majuscules or minuscules. The series also offers 24 dividers and ornaments built into each weight, and a stand-alone font containing 90 stars/snowflakes/flowers, symmetric contstructs for building frames or separators, masking, watermarking, or just good old psychedelia.

Introducing Valve—the ultimate industrial typeface for the modern age. With its superelliptical letterforms and pragmatic stroke logic, Valve is the perfect choice for anyone looking to evoke the cold, hard world of plastics, pharmaceuticals, electronics, and alternative energy. But don’t be fooled by Valve’s emotionless, android-like forms. This is a typeface that packs a punch, with soft stroke ends that lend it a touch of elegance and sophistication. Whether you’re designing a cutting-edge tech brochure or a sleek new website, Valve is the perfect choice for anyone who wants to convey a sense of modernity and precision. And unlike other ultramodern typefaces that rely on tongue-in-cheek references to retro futurism, Valve is purely synthetic. Built solely from artificial elements with no specific structural source, this is a typeface that’s as forward-thinking as they come. So why settle for a typeface that’s stuck in the past when you can choose Valve and embrace the future? And with OpenType fractions, numeric ordinals, and a wide range of currency symbols included, Valve is more versatile than ever. Available in five weights—Extra-Light, Light, Regular, Bold, and Heavy—as well as a set of sleek obliques, Valve is the perfect choice for anyone looking to take their design game to the next level. So what are you waiting for? Choose Valve today and see the difference that a truly ultramodern typeface can make. 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 GGX89, the ultimate display typeface with a minimalist look that exudes Swiss-style sophistication. With its tight spacing and sleek lines, GGX89 is perfect for creating eye-catching headlines, logotypes, and titles that demand attention. Inspired by the iconic mid-20th-century sans-serif typefaces like Helvetica and Univers, GGX89 embodies the essence of Swiss graphic design, a style known for its simplicity, clarity, and precision. Its clean and straightforward design is sure to make any project look polished and professional. But GGX89 isn’t just all looks. It’s also incredibly versatile, making it a top choice for a wide range of design applications. Whether you’re creating marketing materials, advertising campaigns, or editorial designs, GGX89 has got you covered. And if you’re looking for a font that’s equally impressive for body text, look no further than GGX88. Together, these two typefaces offer a complete and cohesive design solution that will elevate your work to the next level. So why settle for anything less than the best? Choose GGX89 and GGX88 for your next design project and experience the timeless elegance of Swiss-style typography at its finest. 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.

Step into the world of Mahavishnu—a typeface that takes inspiration from the psychedelic record covers of the legendary Mahavishnu Orchestra, and brings to life a unique, organic design that speaks volumes. Each letter has been meticulously crafted to have an intriguing interaction with the next, creating a flowing, organic feel that is sure to captivate your audience. With its soft, delicate curves, Mahavishnu exudes an aura of calm contemplation. Its sleek and stylish design gives your message an original, captivating voice, that will set you apart from the rest. It breathes life into your words, and delivers your message with a sense of depth and character that is hard to come by. The unusual curves of Mahavishnu make it perfect for those looking to create a design with a difference. It is a typeface that embodies the spirit of creativity and imagination, giving your message an organic feel that is both fresh and exciting. Whether you’re designing a poster, a logo, or even a book cover, Mahavishnu will add a touch of originality to your work, and ensure that your message is delivered in style. In short, Mahavishnu is a font that will elevate your design to new heights. Its distinctive curves and letter interaction make it the perfect choice for those who want to create an intriguing, original voice for their message. So why not give Mahavishnu a try and discover the creative possibilities it has to offer? 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 a future world where technology reigns supreme, communication must adapt to convey the cold and calculated efficiency of machines. Pirulen is the answer to this need. This hi-tech headliner is a futuristic marvel that transcends the limitations of traditional typography. Pirulen takes inspiration from the bold and daring style of 1930s Bank Gothic, but with a unique and revolutionary twist. It strips away any hint of warmth or humanity and replaces it with a cold and calculated design that perfectly captures the feeling of machines and technology. The result is a typeface that is both imposing and captivating. One of the most striking features of Pirulen is the lambda-style “Λ”, which adds to its already bold and robust appearance. This iconic symbol is a clear indicator of Pirulen’s futuristic design and sets it apart from other typefaces. And if you’re looking for even more variation, Pirulen offers barred “A” and accented variants that can be easily accessed through your application’s stylistic alternates function. With six different weights and italics, Pirulen is a versatile typeface that can adapt to any situation. Whether you’re creating sleek and modern designs or gritty and industrial ones, Pirulen can help you convey the cold and calculated efficiency of the future. So don’t be left behind—embrace the future with Pirulen. 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.

Welcome, esteemed customers, to our magnificent array of fonts! It is with great pleasure that we present to you the rusticized Steelfish Hammer, a variation of the popular Steelfish typeface. Its rugged appearance embodies the sincere and trustworthy nature of your message, evoking sentiments of the utmost assurance. With three textured letter variations that are shuffled automatically in OpenType-savvy applications, the Steelfish Hammer typeface creates an unparalleled realistic impression. To disable this effect, simply toggle the “standard ligatures” feature in your application. And oh, the compact letterforms of the Steelfish Hammer! They are nothing short of exquisite. Each of the five weights and italics of this typeface is a testament to the power and resilience of your message, with every character carefully crafted to achieve the desired effect. There are other kinds of Steelfish too: Steelfish Regular, Steelfish Rounded, Steelfish Steeled and Steelfish Unleaded. Come, delve into the world of typography with us and experience the unmatched beauty of the Steelfish Hammer. Let your message speak with confidence and authenticity, as it is our utmost priority to provide you with the best tools to achieve your goals. 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.

Welcome to the world of Evensong—the perfect art deco geometric typeface for those who want to make a statement. With its dramatic and unusual contrast, this font is sure to catch the eye of anyone who sees it. One of the things that sets Evensong apart from other typefaces is its extreme thick/thin letters. But it’s not just that—it’s the way Evensong makes dramatic choices with its contrast that really makes it stand out. With Evensong, you can deliver your message with a stylistic flair that’s sure to get noticed. Whether you choose to use the Solid and Hollow styles independently or stack layers of Solid and Fill, you have the flexibility to experiment with different color combinations and layers to create the perfect retro-fashion look. Embrace the boldness of Evensong and make a statement that’s impossible to ignore. This font is perfect for those who want to stand out from the crowd and make a lasting impression. Try it out today and see how this one-of-a-kind typeface can take your design to the next level! 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 Sweater School, a typeface that feels like the friendly embrace of a warm sweater on a chilly day. With its casual pen strokes and relaxed letterforms, this inviting teacher’s typeface is perfect for anyone who wants to convey a sense of approachability and warmth. Sweater School is a unique typeface that draws inspiration from the print style preferred by elementary school teachers, but with significant improvements that make it easier to read and more pleasant to look at. We know how important it is to get your message across clearly, and that’s why we’ve created Sweater School with readability in mind. One of the standout features of Sweater School is its alternate characters, including a charming “J”, “I”, and “q”, as well as nut fractions (vertical fractions). These variations can be easily accessed through your application’s OpenType “stylistic alternates” capability, allowing you to add a touch of whimsy to your designs and make them stand out from the crowd. Sweater School is available in four weights and italics, making it a versatile choice for a variety of projects. Whether you’re designing a logo, creating a presentation, or crafting a social media post, Sweater School is sure to help you make a statement with its friendly, approachable style. So why not cozy up to Sweater School today? Let its inviting warmth and casual charm elevate your designs and connect with your audience in a whole new way. 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.

The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma’il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today. The Mashq font family by Arabetics includes three styles of Mashq. The first is Mashq regular, which closely follows the script style of Musḥaf ‘Uthman (currently displayed in the Topkapi Museum in Turkey) with only the initial and final Haa’ baselines shifting. The second is Mashq Maail, which emphasizes the features of the Ma’il style shared with Mashq. The third is Mashq Kufi, which closely follows the script style in an adequate sample from the Quran manuscripts of the Bergstraesser Archive. All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. Hamza was treated as a vowel in the Mashq and early Kufi manuscripts. Kashida is a zero width character. In the Mashq fonts, inserting one Kashida before the final ‘Ayn glyph group will trigger alternative shapes. In the Mashq Kufi fonts, inserting one Kashida (or two) before the final Yaa’, ‘Ayn, and Ḥaa’ glyph groups will trigger alternative shapes. The Mashq font family by Arabetics was designed to be as compatible as possible with the Arabic keyboard and Unicode alphabet used in computers today. Calligraphic variations were implemented only when they marked significant and permanent script features.

Pakenham is a typeface that truly exemplifies the transformative power of typography. Inspired by the timeless elegance of Steile Futura, a work of art by the legendary Paul Renner, Pakenham has taken the world of typography by storm with its innovative and captivating design. At its core, Pakenham is a sans-serif typeface that exudes an aura of modernity and sophistication. Its gently curved corners and generously scaled loops give it an effortlessly chic and trendy look, while its clean and sharp lines keep it rooted in the world of minimalist design. But Pakenham is not just a pretty face. It is a typeface that is brimming with oddities and anomalies that will add a unique and personal touch to your creations. Its superelliptical design is unlike anything you’ve seen before, making it perfect for designers who are looking to break free from the shackles of conventionality and embrace their creative freedom. With four different weights, two widths, italics, and special effect styles, Pakenham is a typeface that offers an unprecedented level of versatility. It is a true workhorse, capable of adapting to a wide range of design projects and styles. Overall, Pakenham is a typeface that is a must-have for any serious designer. Its combination of elegance, modernity, and versatility make it a true gem in the world of typography. So if you’re looking to take your design game to the next level, look no further than Pakenham. 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 Warugaki: a typeface that defies convention and eschews predictability. With a bold, untamed energy that is deeply rooted in mid-century Japanese style, Warugaki captures the essence of a bygone era while remaining firmly anchored in the present. But don’t be fooled by its seemingly disorganized appearance—this headline typeface is the result of a meticulous subtractive process that imbues each letterform with a sense of organic authenticity. The edge technique used is reminiscent of a handcrafted silk screen or wax dye resist, resulting in compact letterforms that exude a sense of raw, unbridled energy. But Warugaki is more than just a typeface—it’s an experience. With bespoke letter combinations and alternate letters in the lowercase position, each word you create with Warugaki is a unique expression of your own creative vision. No two designs will ever be the same, and that’s exactly the way it should be. So if you’re looking to break free from the constraints of traditional typography and embrace a more spontaneous, expressive approach to design, look no further than Warugaki. This is a typeface that will take your work to new heights, and leave a lasting impression on anyone who sees it. 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.

The Fleur Bleue Beautiful Romantic Font is a graceful and elegant typeface that encapsulates the beauty and romance of delicate flowers. With its flowing letterforms and intricate details, this font brings a touch of sophistication and romance to your designs, making it perfect for wedding invitations, love letters, branding, and other projects that require a touch of enchantment. Features: Romantic and Elegant Style: The Fleur Bleue Font exudes a romantic and enchanting aesthetic. Its graceful letterforms and delicate details create an air of elegance and beauty, making it ideal for projects that require a touch of romance and sophistication. Beautiful Floral Design: The font’s intricate details and floral elements add a touch of enchantment and whimsy to your typography. It captures the essence of delicate flowers, bringing a sense of natural beauty to your designs. Versatile Application: This font is versatile and well-suited for various design projects that aim to evoke emotions of love and romance. Use it in wedding invitations, love letters, branding, packaging, and more to add a touch of beauty and enchantment to your designs. Uppercase and Lowercase Letters: The font includes both uppercase and lowercase letters, providing flexibility and creative freedom in your designs. Mix and match the cases to create visually appealing and harmonious typography. Stylistic Alternates: The Fleur Bleue Font offers a selection of stylistic alternates that enhance the visual interest of your text. These special characters create unique connections between letters and alternate forms, allowing you to create beautiful and captivating typography. Punctuation and Symbols: In addition to the alphabet, the Fleur Bleue Font includes a comprehensive set of punctuation marks, numerals, and common symbols. This ensures consistency and ease of use when incorporating the font into your design projects. Easy to Use: Installing and utilizing the Fleur Bleue Font is hassle-free. It is compatible with both Windows and Mac operating systems and seamlessly integrates into popular design software such as Adobe Photoshop, Illustrator, and InDesign. This ensures a smooth and efficient design workflow. Infuse your designs with the grace and romance of the Fleur Bleue Beautiful Romantic Font. Let its flowing letterforms and intricate details bring a touch of sophistication and enchantment to your wedding invitations, love letters, and branding. Embrace the timeless beauty of this font and create designs that evoke feelings of love and admiration.

Allow me to introduce you to Meloche—a typeface that embodies the charm and elegance of the late 19th century. Meloche is not just any sans-serif typeface, it’s a one-of-a-kind grotesque typeface that draws inspiration from the hand-painted French signs of yesteryear. Meloche comes in seven weights and obliques, offering you the freedom to choose the perfect weight for your design needs. It also boasts of numeric ordinals, fractions, old-style numerals, and a simple Q—all possible thanks to its OpenType capabilities. Meloche offers you access to twenty weight-matched fleur-de-lis symbols in OpenType-savvy applications. Simply input the shortcodes [fleur1] [fleur2] [fleur3], and you can add a touch of French royalty to your designs. With Meloche, you can add a vintage French flavor to your message, evoking a sense of nostalgia and history. Let your designs transport your audience to the romantic streets of Paris. If you’re looking to add a touch of history and charm to your designs, Meloche is the perfect typeface for you. Its unique design and advanced OpenType capabilities make it an ideal choice for any project that requires a touch of Parisian elegance. 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.

Kisba Nova – A character actor that turns heads. Spiky serifs, soft ball terminals. All eyes on Kisba Nova: enter a typeface designed to arouse attention. Kisba Nova is that one guest who joins a party, and a murmur goes through the crowd. Kisba Nova is pure charisma. Opposites attract: Kisba Nova combines sharp wedge serifs and spiky spurs with round and soft ball terminals. Infuse this with a neoclassical stroke contrast and you get a thrilling typeface driven by visual extremes. Sure: Kisba Nova is a diva. But it’s a pro, after all. That’s why it comes in two optical sizes: Headline and Text. This makes sure it looks gorgeous in any situation. The Kisba Nova Headline subfamily is flaunts the trademark flamboyant looks and extravagant letters like f and k. They bring you all of the excitement of the showbiz in large applications—use it for sizes of 24 Pt. and more. The extraordinarily designed, thin and monolinear diacritics, punctuation marks, and symbols of Kisba Nova Headline add to this modern and elegant character. Kisba Nova Headline consists of seven weights from Thin to Black, offering plenty of possibilities to set headlines and titles. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. The Kisba Nova Text subfamily comes with decreased contrast, more generous letter proportions, and wider spacing. Instead of employing flashy thin and monolinear diacritics, punctuation marks, and symbols, Kisba Nova Text aims for a more even texture on the page. It retains the true, elegant Kisba DNA while allowing you to set legible copy in sizes between 9 and 18 Pt. Nothing will distract your reader–Kisba Nova Text aims to please. Kisba Nova Text consists of seven weights from Thin to Black, offering plenty of possibilities to set body copy and subheadlines. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. Kisba Nova celebrates the dual nature of softness and sharpness in a single typeface. It’s a character actor that turns heads.

Hey there, so you want to look like a walking throwback to the 1980s? Well, lucky for you, Teeshirt is here to help you achieve that coveted slovenly appearance. If you’re looking for a typeface that screams, “I don’t care” then Teeshirt is your new best friend. It’s designed to mimic vintage t-shirt lettering, so you can rock that “I just rolled out of bed and put on the first thing I found on my floor” look. And if you’re worried about being too uniform with your letters, fear not! Teeshirt has got you covered with letter pair ligatures. Because who wants to look like they put any effort into their appearance, right? And if you’re feeling adventurous and want to shake things up a bit, you can always disable the “standard ligatures” feature in your application. Teeshirt comes in two styles: Regular and Pressed. The bouncy Regular style will make it look like your letters are ready to jump right off your shirt, while the orderly Pressed style will give you that crisp, just-ironed look (although let’s be real, who has time for ironing?). So what are you waiting for? Embrace your inner sloth and give Teeshirt a try. Because who needs effort and a polished appearance when you can look like a hot mess instead? 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.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Indulge your senses with the exquisite elegance of Negotiate, a sans-serif typeface that exudes sophistication and style. This alluring font boasts a distinctive blend of rounded and flat stroke ends, creating a striking contrast that is both visually appealing and alluring to the eye. The smooth, curved lines of the rounded stroke ends provide a soft and gentle touch, while the flat strokes add a bold and assertive element that commands attention. This captivating contrast imbues Negotiate with a unique personality, making it a perfect choice for those seeking to convey a message that is both powerful and chic. What truly sets Negotiate apart is its versatility. The typeface is available in five distinct weights, allowing you to customize your design to achieve the perfect balance of grace and strength. Additionally, the italics add a touch of sophistication to your work, giving it a refined and polished edge that is sure to impress. If you’re looking for a font that truly embodies the essence of fashion and elegance, look no further than Negotiate. With its old-style numerals, this typeface is perfect for use in OpenType-capable apps. Its charming design and alluring character are sure to make an impact and leave a lasting impression on all who behold it. Choose Negotiate and let your creativity 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.

Introducing Steelfish Rounded—the typeface that effortlessly blends the timeless appeal of historical design with the contemporary touch of modern typography. With its compact letterforms and rounded stroke ends, this headliner typeface exudes a sleek and sophisticated aesthetic that is perfect for any project. Based on the beloved Steelfish typeface, Steelfish Rounded takes a unique approach by avoiding trendy stylistic embellishments and antique ornamentation. Instead, it carves its own path, allowing it to swim stealthily through the most challenging of design themes. Steelfish Rounded is the perfect embodiment of balance and harmony. Its compact design and rounded edges create a harmonious blend of tradition and innovation, making it a versatile choice for any project. Whether it’s for headlines, subheadings, or even body text, this typeface’s clean lines and sleek curves are sure to make a lasting impression. There are other kinds of Steelfish: Steelfish Regular, Steelfish Hammer, Steelfish Steeled and Steelfish Unleaded. So, if you’re looking for a typeface that can capture the essence of both old and new, Steelfish Rounded is the one for you. With its gentle, yet powerful strokes, it will help you convey your message with confidence and sophistication. Trust us, with Steelfish Rounded, your designs will be swimming circles around the competition. 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.

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

Once, Blackletter was a calligraphy style. Full of ligatures, with letters bumping into each other to create an unapologetic picket-fence pattern. Some even claimed that the regularity improved legibility! But then Blackletter was cast into metal, and only a handful of established ligatures survived, while most interletter connections were disentangled. Everyone since followed suit, and hundreds of years later, digital Blackletter fonts were modelled mostly on the metal fonts that prevailed rather than the original handwriting. Up until now! AJ Quadrata is an authentic revival of the textura quadrata hand, and its major inspiration is a 15th-century Latin manuscript of the Bible from Zwolle, the Netherlands. The typeface is delivered in two flavors. The default cut is a modern take on textura quadrata that can be useful for today and tomorrow. The standard ligatures feature employs nearly all letters. The tittle of i retains its original, hasty squiggle form (except for the Turkish localization). Discretionary ligatures include medieval ligatures da, de, do, pa, pe, po (and their mixed-case counterparts!). Stylistic sets allow to use historic letter variants such as long s and rotunda r, closed-counter a, and alternate capitals. AJ Quadrata Medieval is perfect for setting Latin. Default forms of capital F, H and O are swapped with the alternates. The squiggles above i only appear for disamibiguation nearby m, n or u, as in original manuscripts. Discretionary ligatures and historic variants are promoted to the standard ligatures feature to make room in the discretionary ligatures feature for a variety of scribal abbreviations. Dedicated stylistic sets include medieval punctuation and justification alternates — glyphs with elongated terminals used for lengthening lines that end up too short. The Rubrum styles can be layered and colored to create the illuminated effect on the capital letters. Besides a faithful rendition of extended Latin including Vietnamese, numerous synthetic additions are included: polytonic Greek, Armenian, and Cyrillic (with Bulgarian and Serbian/Macedonian localizations). Both flavors of the typeface can be considered a starting point that can be further customized using OpenType features, including Stylistic Sets (some features differ between AJ Quadrata and AJ Quadrata Medieval): ss01 Alt E ss02 Descending F / Roman F ss03 Uncial H / Roman H ss04 Angular O / Round O ss05 Contextual closed-counter a ss06 Diamond-dot i j / Always dotted i, j ss07 Contextual rotunda r / No r rotunda ss08 Contextual long s / No long s ss09 Dotless y ss10 Serbian Cyrillic ss11 Alt Cyrillic de ss12 Alt Cyrillic zhe ss13 Alt Cyrillic sha ss14-ss17 [reserved for future use] ss18 Scribal punctuation ss19 Alt linking hyphen ss20 Justification alternates

‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam. The Amsterdamse Krulletter, or Amsterdam’s curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful ‘g’, originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced. Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now. Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing ‘Krul’ on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, ‘Krul’ is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource.The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

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.

In the world of graphic design, the right typeface can make or break a project. It’s not just about choosing a font that’s legible, but one that speaks to the essence of your brand or message. If you’re looking for a typeface that embodies classic charm and warmth, then look no further than Telephoto. Telephoto is a sans-serif typeface that harkens back to the twentieth century when analog was king. Its gentle, analog feel sets it apart from other typefaces on the market. When you use Telephoto, you’ll notice that it has a smooth personality that immediately injects classic ambience into your projects. But what really sets Telephoto apart are the subtle letter pair ligatures. These ligatures are a true testament to the attention to detail that went into creating this typeface. They break up the monotony of plainly repeating letters, creating a soft and organic feel that’s hard to find in today’s digital world. OpenType-savvy programs are where Telephoto truly shines, so make sure to turn off your application’s “standard ligatures” function to fully appreciate this effect. Telephoto is perfect for photographers, designers, and anyone who wants to bring a soft, analog feel to their work. Its delicate rendering is truly one-of-a-kind and adds a level of sophistication to any project. So why settle for a run-of-the-mill typeface when you can use Telephoto to make your work stand out? Give it a try and see the difference it can make. 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.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Introducing Slow Moon - The Retro Display Font with Timeless Elegance Unveil the beauty of bygone eras with Slow Moon, a font that encapsulates the essence of retro design while offering an extensive range of dynamic alternatives and ligatures. With 976 meticulously crafted character glyphs, multilingual support, and PUA Unicode, Slow Moon is the quintessential choice for designers seeking to infuse a touch of nostalgia into their projects. Key Features: Timeless Retro Charm: Slow Moon embodies the spirit of the past, bringing to life the aesthetics of vintage signage and typography. Its classic appeal effortlessly transports your audience back to the golden days of design. Dynamic Alternatives and Ligatures: Slow Moon is not just a font; it’s a design toolkit. With an array of dynamic alternatives and ligatures, you can create eye-catching compositions that seamlessly flow from one character to the next. This feature allows you to achieve a genuinely unique and handcrafted look. 976 Unique Glyphs: Slow Moon’s extensive character set ensures that you’ll have the perfect letterform for any project. From decorative swirls to bold serifs, every character is designed with precision and care. Multilingual Support: In our globalized world, Slow Moon understands the importance of inclusivity. It offers multilingual support, making it versatile for projects spanning multiple languages and regions. PUA Unicode: Slow Moon is equipped with Private Use Area (PUA) Unicode encoding. This feature simplifies the process of accessing alternate characters and ligatures in various design software, enabling smooth integration into your creative workflow. Ideal for a Range of Applications: Slow Moon is the perfect choice for a myriad of design projects. Whether you’re crafting vintage-inspired posters, retro-themed branding, stylish packaging, or captivating web graphics, this font will lend an air of sophistication to your work. Its versatility allows it to effortlessly transition from glamorous and elegant to rugged and bold, depending on your creative vision. Get Creative with Slow Moon: Indulge in the allure of a bygone era and elevate your designs with Slow Moon. Its exquisite blend of retro charm, dynamic alternatives, ligatures, and extensive character set will empower you to create typography that stands the test of time. Whether you’re a seasoned designer or just starting your creative journey, Slow Moon is your trusted partner in delivering unique and unforgettable designs. Don’t wait to embark on a design journey that captures the magic of yesteryears. Choose Slow Moon and let your creativity shine in the soft, enchanting glow of nostalgia.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Guyon Gazebo, the luxurious display font that will elevate your designs to new heights. Get ready to make a bold statement with its unique style, perfect for captivating headlines, branding that stands out, eye-catching promotional materials, or adding a touch of elegance as a stylish text overlay to any background image. With its high contrast strokes, slender stem, and pointed terminals, Guyon Gazebo exudes sophistication and charm. Let your creativity flow as you explore the extensive collection of standard and discretionary ligatures, ensuring your designs are irresistibly attractive and visually stunning. Embrace the jovial spirit of "Guyonan" as this font's name suggests, originating from the Javanese language. Inspired by the traditional rural gazebo, where locals gather to exchange jokes, Guyon Gazebo infuses a sense of lightheartedness into your designs. Included in the package are Guyon Gazebo Regular and Italic styles, along with a full set of basic Latin characters, ligatures, numerals, and punctuation marks, providing you with all the tools you need to bring your vision to life. Don't miss out on this opportunity to enhance your design projects with Guyon Gazebo. Take your typography to the next level and let your creativity shine. Get Guyon Gazebo today and unlock a world of endless possibilities. Ready to make a statement? Purchase Guyon Gazebo now and let your designs speak volumes! What’s included: Guyon Gazebo Regular & Italic Full set of basic Latin+ Ligatures Numeral & punctuation Multilingual Support: Afrikaans, Albanian, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, 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, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu. Typeface Story: The name "Guyon" derives from the Javanese language and is often associated with humor or joking. In rural areas, there is a traditional gazebo called "Cakruk" where locals gather in the afternoon or evening to exchange jokes (known as "guyonan"). This font's name pays homage to the jovial atmosphere found in these communal spaces. Thank you for choosing Guyon Gazebo! If you have any questions or need assistance, feel free to reach out to us. ------------------------------ Alifinart Studio alifinart@gmail.com www.alifinart.com Instagram | Behance

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

Hear ye, hear ye! Adventurers of all realms, allow me to regale you with a tale of Mikadan, a font of great splendor and beauty. Behold, its letterforms are imbued with the grace and character of the medieval age, yet tempered with modern sensibilities. This typeface is a tribute to the great Verona of Stephenson Blake, a typeface of old that harks back to the days of yore, the age of kings and queens, and the rise of chivalry. Mikadan also draws inspiration from William Dana Orcutt’s Illumanistic, a font of great power and mystery from the turn of the century. Moreover, Mikadan possesses some of the accessible qualities of Morris Fuller Benton’s Motto, a font that has stood the test of time since 1915. Truly, Mikadan is a font that combines the best of old and new, of medieval fantasy and modern design. With its easy-to-read letterforms and medieval design, Mikadan is the ideal choice for all modern applications. Whether you’re designing a poster for a tournament, a sign for a market, or a banner for your guild, Mikadan will serve you well. And if your program supports OpenType alternates, you can access unique drop-down capital letters that will truly set your design apart. So come forth, brave adventurers! Embrace the medieval fantasy design of Mikadan and set forth on your journey to create designs that will endure through the ages. Most Latin-based European, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, 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, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kalmyk, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Khalkha, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, 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, 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), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec, Zulu and Zuni.

This typeface is extrapolated from the ‘We the People’ calligraphy of the handwritten US Constitution Preamble which employed a style based on German Text and Square Text exemplars from George Bickham’s penmanship copy-books, the most celebrated being The Universal Penman published in 1743. The original Constitution document was transcribed onto parchment by Jacob Shallus, a Pennsylvania Assistant Clerk, over a weekend in 1787. Shallus’s biographer, Arthur Plotnik (The Man Behind the Quill, 1987), notes that he was paid $30, a modest monthly wage at the time. He also suggests that the calligraphic headings, ‘We the People’ and ‘Article’, may have been inserted by Shallus’s 14 year old trainee son, Francis, “The manner in which the ‘Article’ headings are squeezed into the space Shallus allowed for them suggests a second hand—and perhaps not a very experienced one.” The unconventional backslant of the headings would seem to support this contention, and at the end of the document there is perhaps a novice’s inconsistency in the structure of the letter n between that used for ‘done’ and those used for ‘In Witness’. However, one has to admire the elegant swagger of the wavy t, h and l which the K-Type font extends to the b, f and k. Also, the simpler, Schwabacher-style W, an enlarged version of the lowercase w, is a little less flamboyant than the capital W from the German and Square texts in Bickham’s manuals. For designers using OpenType-aware applications, the typeface includes some Alternates, including a Bickham-style W, the letters t, h and n with added flourishes, two simpler forms of the A, and a few roman numerals for numbering articles. Also some ornamental flourishes and a round middle dot/decimal point. Punctuation marks are drawn in square, calligraphic style, but an alternative round period/full stop, for use with currency and numerals, is available at the period centered position (though placed on the baseline), accessed by Shift Option 9 on a Mac, or Alt 0183 on Windows. The full phrase, ‘We the People’, has been placed at the trademark keystroke and can be accessed by Option 2 (or Shift Option 2) on a Mac, or Alt 0153 on Windows. For designers who find the backslant awkward or unpleasant, the licensed typeface also includes two additional fonts which have a vertical aspect that may be more conducive to graphic design layouts. ‘We The People Upright’ and ‘We The People Upright Bold’ both retain the distinctive style, and the heavier weight is only slightly emboldened, just enough to add some punch.

Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing designers to produce, bubbly, high-spirited masterpieces, where geometric excess and calligraphic inventions melted joyfully. Freitag is Cosimo Lorenzo Pancini's homage to this era and its typography. His starting point was the design of a heavy sans serif with humanist condensed proportions, flared stems and reverse contrast, that generated both the main family, and a variant display subfamily. The main typeface family slowly builds the tension and design exuberance along the weight axis - a bit like our desire for the weekend increases during the week. In Light and Medium weights the font shows a more controlled, medium-contrast design, tightly spaced for maximum display effect. The Book weight follows the same design but uses a more relaxed letter spacing to allow usage in smaller sizes and short body copy. As weight increases in the Bold weight the style becomes more expressive, with a visible reverse contrast building up and culminating in the Heavy weight with his clearly visible "bell bottoms" feel. In the display sub-family the design is pushed further by introducing variant letterforms that have a stronger connection to calligraphy and lettering. Also, the weight range becomes a optical one, with weights marked as Medium, Large, XLarge, as bringing the contrast and the boldness to the extreme creates smaller counterspaces that require bigger usage sizes. Another important addition of the display sub-family is the connected italics that sport swash capitals and cursive letterforms, developed with logo design and ultra-expressive editorial design in mind. To balance the extreme contrast in the XL weight, contrast of punctuation is reduced, creating a rich, highly-dynamic texture wherever diacritics and marks are used in the text. The full family includes 16 styles + 4 variable fonts, allowing full control of the design over its tree-hugging design space. All 20 fonts share an extended latin charset with open type features including case sensitive forms, single and double story variants and alternate glyphs. According to its creator, "Freitag is the typeface that sounds like an imaginary Woodstock where on the stage with Jimi Hendrix with Novarese, Motter, Excoffon and Benguiat playing onstage with Jimi Hendrix". Jeepers creepers!

Silent films evoke a sense of nostalgia that is as timeless as the era itself. While the stars of silent cinema may have faded into the past, their influence is still felt in modern-day art, fashion, and design. Silentina is a typeface that embodies the spirit of the silent film era, inspired by the intertitles that were used to convey crucial information to audiences during these films. Buster Keaton, Mary Pickford, Clara Bow, and Rudolph Valentino all graced the silver screen with their emotive faces during the silent film era. These icons used their expressions to convey a range of emotions that captivated audiences and made them fall in love with the magic of cinema. Intertitles, the brief messages that would appear on-screen during the film, were just as essential in conveying information to moviegoers. Silentina is a typeface that pays homage to the unsung heroes of the silent film era—the intertitles. It channels the glitz and glamour of the roaring twenties, taking us back to a time of flapper dresses, jazz music, and speakeasies. But Silentina isn’t just a typeface—it’s a portal to another era. It transports us to a time when movies were an escape from reality, and each trip to the cinema was a chance to lose ourselves in a world of adventure and romance. With Silentina, you can project your message in the same way that the stars of silent cinema projected theirs. This typeface captures the essence of a bygone era, bringing it to life in the modern world. Use it to convey plot information, set the scene, or add a touch of vintage charm to your design. Whatever your message, Silentina will help you communicate it in the same glitzy way as the intertitles of the silent film era. 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.

Palamecia is a typeface that embodies the very essence of organic design. It is a testament to the power of the creative process, one that is imbued with the spirit of experimentation and the thirst for innovation. Its unique appearance, at first glance reminiscent of a cartoon typeface, is just the beginning of what sets it apart from the competition. Palamecia was designed with a specific purpose in mind—to withstand the rigors of scaling and blurring on a variety of user interface devices. The creators of Palamecia recognized that the legibility of typefaces can be compromised by the impact of pixel scaling, and they set out to design a typeface that would not only overcome this challenge but also thrive in its wake. What makes Palamecia truly exceptional is its design process. Unlike many other typefaces, Palamecia’s designs were not born from pen strokes, but rather from cut-out silhouettes that were meticulously chiseled and chipped away. This unique approach allowed the designers to create a typeface that is both rugged and refined, with a natural aesthetic that seamlessly blends into any interface. The end result is a typeface that is both durable and versatile. Palamecia’s unique design allows it to pierce through any type of display, regardless of resolution, making it an ideal choice for designers and developers who are looking for a typeface that can deliver the goods under any circumstances. In conclusion, Palamecia is a triumph of organic design, a typeface that is as beautiful as it is functional. Its rugged yet refined aesthetic and its ability to withstand the rigors of scaling and blurring make it a must-have for any designer or developer who values both form and function. So why wait? Try Palamecia today and experience the power of organic design for yourself. 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.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.