Berryfield started as an experiment: making a font entirely out of geometric shapes. It started with a couple of circles and a couple of rectangles, and was constructed entirely from those parts, and parts made from those parts! For the uppercase, I took style inspiration from the heavy serif classics. But when it came time to create the lowercase set, I took a sharp turn and looked to fun unicase fonts, creating uppercase-height lowercase letters, in addition to uppercase alternates. When I finished Berryfield Regular, I liked it so much I made a lighter version (almost like a typewriter font), and a heavier version, to give you even more variety! Each font in the family contains over 520 characters, including over 300 extended Latin characters for language support. There are also a number of alternate letters to choose from, as well as superscript ordinals (ST, ND, RD, and TH), all of which are PUA-encoded for easy access no matter what design program you're using. Berryfield was a ton of fun to make, and I hope you have a ton of fun using it! It's smooth and easy for both print and crafting; the uppercase alone is straightforward enough for a magazine headline, but combining in the lowercase makes it quirky and fun.

Hello Billy is a modern, handwritten, modern calligraphy font. The shape is modern and unique and the writing style is very natural. Hello Billy features a varied baseline, smooth lines, gorgeous glyphs, and stunning alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant like branding, web design and editorial, prints, crafts, quotes, It's great for logotypes, wedding invitations, romantic cards, labels, packaging, spelling of names and others. Add to your most creative ideas and watch how they bring them to life! Hello Billy includes OpenType stylistic alternates, ligatures and International support for most Western Languages. To enable the OpenType Stylistic alternates, you need a program that supports as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Hello Billy is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Timeless imperfection FS Meridian is a rhythmic geometric grotesque which takes inspiration from the precise yet imperfect nature of time. There are 24 hours in a day. 60 minutes in an hour. 60 seconds in a minute. Well, almost. The Earth’s orbit isn’t a perfect circle – and nor is the Earth itself. Each day varies a few dozen seconds and up to 16 minutes each year. Look closer and time is more flexible than we think. Geometry with a twist From a geometric base, FS Meridian’s rounded forms veer and extend, creating unexpected humanistic shapes – while the straight terminals remain reliably rigid. This combination of forms gives this grotesque sans serif a pleasingly dynamic rhythm, every time it’s read. Added quirks The unconventional character of rigid terminals and ink traps are balanced with emphasized extended forms to develop visual differentiation. Designed by Kristina Jandová, the complete family has been carefully crafted with distinguishing marks. Take a look at the cap ‘Q’ which comes with three alternative options. Deliciously loopy FS Meridian has a wide geometric, mono-liner appearance with humanistic elements. Quirky individual touches like the loopy expressive pound sign help the typeface to stand out. Available in five weights, FS Meridian is both timeless and timely, a distinctive font for all screens and surfaces.

The font "Lugo" is a heavy typeface designed for use in headlines and caption text. Their design has a strong visual impact, a persuasive and seductive personality throughout its organic shapes. This is a versatile and expressive font. Lugo can create an appealing atmosphere, conveying a gamut of message and emotions. It is well suited in the jobbing areas like packaging, logotypes, magazines, web pages and advertising, etc. Lugo has all the advantages of OpenType features that allow a variety of combinations: You may choose to set types in connected or unconnected ways, being used as body text or headlines for its good legibility, visual impact and accurate kerning. It has more than thousand glyphs: swashes, standard and discretional ligatures, stylistics and contextual alternates, old style numerals, word ending and tails. It has also an extended character set to support Central and Eastern European as well as Western European languages. Lugo is a city in northwestern Spain in the autonomous community of Galicia. The Celtic name Lug suggests that it may have been a sacred site. Augustus founded the Roman town of Lucus Augusti in 15-13 BCE following the pacification of this region. It is the only city in the world to be surrounded by completely intact Roman walls.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Presenting the 🎃 The Zombik Typeface 🦇 by alitdesign. The Zombik typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Zombik font has a horror character with a character shaped like dripping blood, making the horo or Halloween themed design concept even better and unique. The Zombik font also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Zombik font, creating a Halloween themed design is very quick and easy. The Zombik Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with halloween and dark concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Zombik Typeface contains 473 + 150 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

FF Attribute™ Mono is a monospaced design with an industrial strength, minimalist vibe, making it perfect for attention getting, theme-based headlines, posters, banners and navigational links. And, because it is such a robust family, FF Attribute can also be used for branding of blogs, games, web sites and tech products. FF Attribute comes in two families; Mono and Text. The Mono is a fixed width (monospace) design, while the Text is a proportional design. FF Attribute was, in fact, initially designed for the use in code editor software. Its seven roman and italic monospaced weights and extended character set supporting many languages also make it a powerful communications tool. But this is only the tip of the iceberg. In addition to the monospaced version, where all characters share a fixed width, there is also a proportional, “faux monospaced” version: FF Attribute Text. The Text family keeps the visual character of a monospaced typeface, but wide letters are given more space while narrow characters have been drawn with correct proportions and spacing. FF Attribute Text looks monospaced – but it’s not. Drawn by Viktor Nübel, FF Attribute Mono’s 14 designs, huge character set, including box-drawing characters and user-interface icons, make it the Swiss Army Knife® of monospaced fonts.

The new Bunday™ Slab Font Family consist of three main states with different moods: the crisp and distinctive slab serif, the cute script styled italic and the matching upright italic. All states of Bunday™ Slab share the same contemporary, clear and open base forms and create a space-saving and pretty homogeneous text colour with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. Bunday™ Slab ships with 9 standard, 9 upright italic and 8 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more. Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Slab Specimen PDF Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 3 Moods: Sans, Upright and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Only available applications with advanced OpenType® support

Italiano Fushion is part of an expanding project on which we have been working for several years and which we are committed to in the future. Like the first two, this one too starts from the study of the great Futurist adventure of the early 1900s by great artists such as DEPERO and MARINETTI, who twisted the world of typography with shapes and colors. Italian Fushion is made up of almost 2,000 glyphs for each weight and in addition to hundreds of alternatives mainly, such as initials and endings of each word but also different alternatives for the letters I, J, Y. Thanks to the characteristics of Open Type, you can change them in automatic many of the alternatives, use it as a simple text font by changing only the I's and J's that have the typical capital dot, and giving the text a more fun breath to the composition. Italiano Fushion is suitable for large texts and to get the most out of it it is compulsory to transform the text into UPPERCASE text using the tabs of graphic applications such as Illustrator, or activate the Alternavive tabs and the various options of SS. Ideal for creating Logos, Head Lines, Web Titles, Posters, Epub Covers, Tatoo Projects, T-Shirts, Drink Labels ... Thanks

Idealista directly responds to its other members, Nudista and Kulturista. It shares the same proportions and the same set of weights, yet it enriches the expression means of the two typefaces with new themes — the character set is smooth, even round, and it boasts a number of special details and perky moves. Most of all, Idealista relishes juicy magazine titles, typographic logotypes and propagandist posters. Unlike cold, technicist typefaces, it has great zest for life, so there's no wonder that in each of the letters, intuition wins over intellect. Owing to this, the text set in Idealista has a special voluptuous quality and unmistakable temperament — in a single typeface Idealista combines the best of sans-serif, slab-serif, as well as geometric and calligraphic construction principles, coming down to one impressive, expressive cocktail. Some letters have serifs, some do not, some are sharp, some are smooth, and all this results in the nice hip-hop beat of the line of text. The typeface has five weights and ten styles in total, so it can easily accommodate to the needs of complex texts, unlike many of its display counterparts. Idealista is valuable partner for the more text-suited Nudista and, if need for tiny sizes arises, to Kulturista as well.

Ladoga — one of the most beautiful Russian designs from the soviet period. The type family was developed in Polygraphmash in 1968 by Anatoly Shchukin on the base of his own lettering for book covers and titles. It was one of the first attempts in Cyrillic typography to create text face in a style of renaissance antiqua. Stylization to broad pen calligraphy resembles early forms of Latin types that were based on handwritten humanistic minuscule. Unique in its character set digital version of Ladoga was designed by Viktor Kharik on the base of artworks of Shchukin for ParaType. The family consists of roman and italic styles in text and display versions. Character set includes characters of original shapes as well as more modern alternatives. Besides there are a set of additional characters, old style figures and small caps. The fonts cover all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters. Ladoga is gorgeous in display sizes and pretty readable in texts. It’s well suitable for fiction literature, historical books, art criticism, religious and philologist works. It will be extreme helpful for multilingual issues and for inclusions into body text historical passages in original orthography. The family was released in 2010.

Introduction to Wegas – Bubble Font Wegas – Bubble Font offers a playful and cheerful design, perfect for adding a fun touch to any project. It’s inspired by the lightness of clouds and the joy of bubbles. This font brings a fresh, airy feel to your designs, making them stand out. It’s ideal for creative projects that need a touch of whimsy. Design and Inspiration This font features rounded edges, mimicking the shape of clouds and bubbles. Its design is based on a cheerful and lively aesthetic, perfect for uplifting content. The bubbly appearance gives a sense of joy and playfulness. It’s like capturing the essence of a sunny day in a font. Versatility and Usage Wegas – Bubble Font is incredibly versatile. It works great for children’s books, party invitations, and playful branding. Its readability makes it suitable for both digital and print media. The font is a great choice for anyone looking to inject a sense of fun into their work. Easy to Use and Accessible This font is user-friendly, ensuring accessibility for all skill levels. Its simplicity caters to a wide audience, from professional designers to hobbyists. Downloading and installing Wegas – Bubble Font is straightforward, allowing you to start creating joyful designs immediately.

Skema Pro is a versatile system of 6 serif typefaces - each bearing a distinct character and purpose. Together they form a huge superfamily of 84 fonts to fit any imaginable task. Skema Pro Livro is a low contrast, low x-height typeface with inclined axis. It is designed to work in books, where long ascenders and descenders along with increased line-spacing aid comfortable reading. Skema Pro Text has low contrast, medium x-height, and slightly tilted axis. Its neutrality along with modern feel makes it default choice for long texts of any nature. Skema Pro Omni features medium contrast, medium x-height, and slightly inclined axis. Being a more contrasted version of Skema Pro Text, it shares its intent of usage, however, creates a different texture with more formal look. Skema Pro News is a low contrast, large x-height typeface with vertical axis. Works best in newspapers and in screen applications. Skema Pro Title has medium contrast, large x-height, and vertical axis. Designed to work in larger text sizes, it offers contemporary detailing for pull-quotes and subheadings. Skema Pro Display is a typeface with high contrast, large x-height, and vertical axis. It shows its features in large text sizes, such as editorial headings.

Agatized Informal is a rough-edged stencil typeface with chunky letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. The design is something of an enigma, a curious mish-mash of genres – imagine splicing Uncle Buck and Deadpool into a horror movie – it’s big, bold and funny although has a dark side. But what really makes this typeface a joy to drive is its boot full of alternative characters and ligatures. There is a saying: Use sparingly. Not on this street! Make your Glyphs palette burn rubber. Set your OpenType to full throttle: crank up your style and get those liga-tyres screeching. Agatized is a souped-up old campervan spinning doughnuts on the beach. The design started life as a piece of lettering for a book design that didn’t progress past the sketch stage. I liked the rough, dense character shapes, so during some down time I started drawing more characters and the lure of a new typeface pulled me in from there. Although this is a single-weight typeface it has a younger sibling, Agatized Formal, a neater, more dapper brother, smoother round the chops and smartly dressed – certainly no less fun though.

Senlot Didone enchants with this fresh and cutting-edge sequel. It’s a modern interpretation of Senlot that says glamor and seduction. The typeface adds to the original high contrast sans serif with it’s modern high contrast shape, and features a new beauty with the distinctive sinuosity of contrasting forms. Senlot Didone is the sleek, serifed, high contrast follow-up to Senlot, and it's low contrast sequel, Senlot Sans. A serif typeface suitable for text and display work joined in 2019. Senlot Didone includes a wide range of OpenType features, including titling capitals, superscripts and subscripts, and oldstyle figures. Senlot Didone is composed of 3 widths: Condensed, Normal, and Extended, with 9 weights and their italics for a total of 54 fonts with more than 800 glyphs. Senlot Didone is a great display typeface for logos, branding, packaging, and advertising. With its broad palate of options, the font covers over 72 Latin-based languages. Dress your text in any of nine separate styles from Thin to Bold. With Senlot Didone, there's no need to compromise on another font with fewer features. Simple, elegant, and versatile, Senlot Didone now makes perfect more possible. Take the show by storm with this high contrast serif. The seductive figure of Senlot Didone is here to entice your viewer.

Voguish – Sophisticated Calligraphy Are you looking for an outstanding and unique font? Do you want to add some fun and playfulness to your creations? Then this is the font that you need! Say hello to Voguish – the new, exclusive, and elegant font! Voguish is a sophisticated font ideally crafted to easily create amazing results with a minimum of fuss. Voguish is a perfectly balanced font with unique, stylish letter shapes that have been combined with a sophisticated contemporary touch. Being a perfectly multifunctional font, it is the ideal fit for new season designs. It’s perfect for all those luxurious projects or designs that you want to stand out from the crowd! Download it now and make all your dreams come true! It’s so unique and elegant in look, that it will be the talk of your town! Voguish features: A full set of upper & lowercase characters Numbers & punctuation Gorgeous ligatures A full set of alternate upper & lowercase characters Uppercase beginning swashes Lowercase ending swashes Lowercase alternates characters Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

ITC Tabula is meant to be read. The design grew out of a study to create a font to set film subtitles. According to Julien Janiszewski, the face's Paris-based designer, “I set parameters for the design whereby the letters had to be able to hold up at very small sizes when set on film and yet must be able to be enlarged 2000 times to be read on a theatre screen.” The subtitle font was not completed, but several months later Janiszewski revisited the design and made a discovery. “I realized that the constraints I had established for the subtitling font was not that far from those people could have in creating typographic signage. Many time this calls for a font that can be used easily in very large sizes for headlines on highway billboards and quite small for text copy.” Work proceeded for two more years before Janiszewski was satisfied with the results. The final design is a somewhat squared sans serif family of four weighs with corresponding italics. Janiszewski also wanted to create what he calls a “sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation.” ITC Tabula is not only easy to read, it is also a distinctive and handsome design.

Optimum readability in small bodies with scarce interlining, under poor printing conditions such as in newspapers, where velocity and bad quality’s irregular surface papers, truly distort strokes was the challenge taken. Pobla was designed with this in mind, hence Patau present a hybrid between the conventional strokes of a serif’s classical roman type and markedly “fractured” forms inside, providing a unique personality to this typographic family, where calligraphic’s humanistic axis is visibly broken with the straight axis of the fabricated letters. Subtle details in the serifs, give it a modern look to a classic skeleton. Very pronounced ink traps get the shapes rounded in the printed product to artificially increase the average medium-eye and promote reading in the small sizes it was designed for. An absolutely handwriting look for the italics, where the rupture of the stroke marks a white’s subtle change to only whisper in the printing surface a slight difference, but without fuss and so not to break the rhythm of reading. And as we are used to, a complete set of OpenType features, where you will find small caps, fractions, ligatures, old numerals and tabular, discretionary ligatures and support for 220 languages; and all available in twelve weights to meet the needs of any newspaper printing.

MGN Carleigh is a font that combines strength, beauty, and classic style in a unique and captivating way. The font has a bold and solid appearance, with a strong and commanding presence that makes it perfect for creating titles, headlines, and other prominent text. At the same time, the font has a certain elegance and beauty to it that makes it stand out from other more traditional fonts. Its classic elements give the font a timeless quality, making it suitable for designs that require a touch of vintage or retro feel. The shape of the MGN Carleigh font is both strong and refined, with a unique look that is both distinctive and memorable. The font has a certain energy and intensity to it, with a commanding presence that makes it perfect for use in designs where the text needs to be prominent and powerful. At the same time, the font is also beautiful and sophisticated, with a certain classic charm that makes it a great choice for designs that require a more traditional look. The combination of strength, beauty, and classic style in this font makes it a versatile choice for a wide range of design projects, from modern and edgy to classic and timeless.

Condell Bio Poster is part of the bigger Condell family: a project that involves series of typographies that started to be conceived and developed since 2006. It also includes a bigger legibility version and a sans serif. Condell Bio is very versatile and can be used in the agroindustrial production. Thanks to its strongness and its charm, it can be used in different projects where a short and powerful message is required. For instance in a brand marketing campaign. The Condell project follows in terms of time the design of Comalle (a font also designed by Juan Pablo de Gregorio in 2006), but if we compare them, Condell seems to look for a major range of uses rather than a mere stylistic inspiration. And even if it keeps in its shape some organic forms, Condell seems to be much more similar to a sans serif traditional typography. Condell's fat and soft forms and its nice endings, inspired through spontaneous brush strokes, give it a very peculiar pleasant connotation. Its Italic (10 degrees inclination) have been produced singularly, not automatically calculated by the software. Condell Bio Poster is composed of 2 styles: the regular and the italic. Each one of them have 599 characters and is composed of 206 languages.

Garet is a modern geometric sans serif. It is characterised by high x-height, clean and soft letterforms with a smooth masculine tone. Garet derives its distinctive oval shapes from the optically perfect circle and has closed counters to further emphasise that form. The Garet type family consists of 11 weights ranging from quite thin to extremely fat and their corresponding Italics to make a total of 22 fonts. And all of them are combined into one variable font that will give you unlimited opportunities to explore and express without the restrictions of the predefined weights. We understand the need for more extensive language support. That’s why the typeface includes Extended Latin and Cyrillic and covers more than 200 languages. Garet also comes with several alternative stylistic sets that will change the overall look of a paragraph, giving it a slightly different appearance. In addition to that, the type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case-sensitive punctuation, and more. Тhe wide variety of weights, characters, and additional features allow Garet to be implemented equally well both in print and on-screen media.

The careful balance between the emotional swings and shapes set in strong contrast such as the burly serifs, or generally vertical and orderly appearance within the Duwal Pro determine the special look of this Antiqua typeface. All characters of the Duwal Pro are designed to be open and accessible. The lowercase letters are designed with a large x-height, which is why they are ideal for small font sizes. Many striking details give Duwal Pro a defined and firmer appearance with increasing font size so it is also suitable for use in headlines and work marks. The deliberately constructed and emphasized design of the serifs give the font a strong position and at the same time force the reading direction. Using Duwal Pro in Bold weight, the serifs look clearly striking, the design language is concise and the typeface receives an additional sympathetic force. The Italic weight draws on the expressive but not intrusive design of the Regular, but appears sharper and is ideal for text passages. The font family contains italics, small caps, lots of ligatures, swashes, another format set, contextual alternatives and special characters as well as other open-type features which allow the use of Duwal Pro in 48 languages.

Axalp Grotesk™ is a post-Swiss-Style modernist sans serif type family characterized by the play between elegant rounded shapes and sharp angular details. It is minimal, legible, well balanced and charismatic. Its heavy weights deliver powerful yet friendly impact. Thin ones emanate elegance, fine lines and precision. The family has very versatile proportions and generous x-height allowing a successful use for user interfaces, all sorts of display and branding scenarios, as well as a paragraph text typeface. Contemporary minimalistic approach makes Axalp Grotesk an outstanding design tool for creating modern visual identities and user interfaces. A truly universal sans serif family where beautiful forms and proportion work together with careful spacing, kerning and hand-hinting. Axalp Grotesk is an attractive contemporary alternative to the classics of Swiss Design School such as Akzidenz-Grotesk, Univers and Helvetica. It is bright, crisp, modern and friendly in character, and features an alternative stylistic set for more minimalistic and neutral look, simplifying such characters as “Q”, “J”, “a” and “y”. The family has extended latin language support, as well as broad number of OpenType features, such as stylistic alternates, case sensitive forms, ligatures, contextual alternates, lining, oldstyle, tabular and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Yolk is an Eggcentric Sans Serif Typeface consisting of nine weights in both roman and italic. Essentially, this is a geometric sans typeface that has been inspired by the shape and proportions of an egg. With its bottom-heavy glyphs, Yolk has an unusual personality – it’s not too awkward to be off-putting, and it’s not too uniform to be associated with the myriad of generic geometric sans fonts that are available. Yolk has a distinctive presence in its upright form, while the italics exude a more flamboyant nature. When combined, your typographic results will be pleasing and perhaps a little quirky too. This 18-font type family achieves a good balance of personality, versatility, and usability. Small Caps are available at the click of a button, then add Stylistic Set 1 to achieve Petite Caps. The petite caps harmonise with the regular lowercase forms, so that you can create unicase-style typography too. All Latin-based languages are covered within the 1000+ glyphs of each Yolk font. Key Features: • 18 font family – 9 weights in Roman and Italic • Small Caps, Petite Caps, with Proportional, Old Style, and Small Cap figures, plus Fractions, Numerators, Denominators, Superiors, and Inferiors • Full European character set (Latin Extended) • 1,000+ glyphs per font.

ManRay is a photogenic typefamily of 6 fonts designed by @andinistas, with more than 2600 glyphs distributed in 3 Scripts and 3 Caps. Its shapes are ideal for attention-grabbing and for its eloquent character set, each style is presented with three levels of erosion planned with meticulous dotted texture bézier drawing, diagonal texture, and vertical texture pattern. ManRay Script, Script2, Script3 is based on calligraphy made with a fine tip brush and therefore communicates pleasant and attractive ideas. Its capital letters measure three times the height of the lower case and stand out for its artistic curved lines ideal for writing on photos, logos, labels, packaging, posters, covers of food products, spirits, organic teas, etc. In that order, it also offers other expressive alternate letters that activate spontaneously, and each of the three styles is case-infinite with and without Swash, Stylistic, and Titling Alternates. ManRay Caps, Caps2, Caps3 are inspired by calligraphic Roman letters drawn with a brush with a square tip and are equipped with descending flourishes for word start and end. The core of ManRay mixes the ideas of Ed Benguiat and Ross F. George and its name is a tribute to the Dada hero who changed history a century ago by working against the conventions of art and photography.

Press Gothic is a revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake's Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s. Just like its inspiration, Press Gothic aims to be a fresh alternative to big economical poster fonts with clear sans serif forms and an urgent, strong, yet elegant design appeal. In the summer of 2008, Press Gothic underwent a major linguistic and aesthetic reworking for an international publishing company. The result of this on the retail side are new small capitals and biform/unicase additions to the main font, as well as expanded language support that includes Cyrillic, Greek, Turkish, Baltic, Central and Eastern European, Maltese, and Esperanto. Press Gothic Pro, the OpenType version, combines all three fonts into one, taking advantage of the small caps feature, and the stylistic alternate feature for the biform shapes.

Presenting the 🎃 Rankday Typeface 🦇 by alitdesign. Rankday typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Rankday font has a horror character with a character shaped like dripping blood, making the horor Halloween themed design concept even better and unique. The Rankday font also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading the Rankday font, creating a Halloween themed design is very quick and easy. The Rankday Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with halloween and dark concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Rankday Typeface contains 607 + 150 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Jantar Sharp is a text family with flared terminals that eludes the catego­ries of serif or sans. Its most recognisable features are taken from both styles to achieve proper design and high legibility standards. Jantar Sharp performs especially well when used for continuous reading including texts on web platforms. Its personality lies in the flared stroke endings and certain details which make its shapes neither sans nor serifs. Rather than following any particular historical model, it picks up elements from various periods to achieve an organically dynamic look which is entirely compatible with the reading process. Jantar Sharp Italic makes a nice contrast, though the pace and proportions are not drastically different from the upright. This allows for effortless reading of longer passages of italicised text. Jantar Sharp – as well as its teammate Jantar Flow – has been designed in seven weights from ExtraLight to Heavy, all with accompanying italics; it has a tabular and proportional set of figures in both old style and lining options are included together with a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European language and a set of case-sensitive characters.

The Black Puma typeface was inspired by the rock beats and the honest spirit of today's indie music scene. Just as evolving garage bands', Black Puma’s strength lies in its fresh and brave approach: to playfully experiment and proudly take its imperfections as long as they are needed to stay real and honest. Black Puma's aim is to entertain, while expressing a strong human touch through its handmade and creatively assembled characters. Black Puma's varying rounded and edgy shapes create a vibrating yet coherent visual, which carries a positive, playful atmosphere. Its irregularities and extra bold characters empower Black Puma to have great and touching visual impact, which make it stand out of the mass flow of information delivered in the information society we live today. Black Puma font - with its 370 glyphs - includes all the accented characters of the Latin alphabet, and also comes with a couple of alternate characters (stylistic and contextual) to play around with. And, above all - as mentioned before - it includes its essence: the young spirit. So come, play around and have fun with Black Puma. Use it to create expressive, passionate posters, flyers and art work full of spirit for the awaiting young-minded public. You can find more artwork using Black Puma under the "Gallery" tab above.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

"Lilla Letter Lover" is a captivating font designed specifically for children's books. This delightful typeface brings an element of playfulness to reading, while also enhancing phonemic awareness. The font's remarkable strength lies in bridging the gap between handwritten and printed letters. For early readers, this transition can be challenging, but "Lilla Letter Lover" simplifies the process. It merges the familiar aspects of handwritten letterforms with the clarity of printed text, providing a seamless reading experience. This feature ensures that children can comfortably navigate both forms of writing, enhancing their overall literacy skills. The whimsical charm of "Lilla Letter Lover" instantly captures young readers' imaginations. Each letter is thoughtfully designed with basic shapes and simplicity in mind, for an experience where letters come to life, fostering a love for reading and storytelling. Additionally, "Lilla Letter Lover" offers a unique opportunity for sight-based spelling learning. The visually distinctive presentation of words helps young readers to develop a strong visual memory of spelling patterns. This visual association enables them to recognize and recall words with ease, strengthening their reading and writing proficiency. In summary, "Lilla Letter Lover" is not just a font; it is an enchanting gateway to make reading a joyous adventure for children of all ages.

Its inspiration comes from the types without serifs, with features ranging from architecture to modernist design products. With generous shapes and counterforms, the type becomes showy wherever it is, masterfully fulfilling the purpose for which it was designed. Initially designed for a signaling project in the Brazilian city of Jaraguá do Sul, Santa Catarina, the STP Display was expanded to include the largest number of characters in the Latin alphabet. This helps to find solutions in cases where a large number of languages to communicate something is needed, such as to inform a specific place for a tourist or also a direction to follow for an employee in a company. The STP Display is a modular feature, developed with rounded corners and a design based on geometric elements, ideal for use in large sizes. Forms and counterforms, its main characteristics, bring prominence to any signaling project. The STP Display also has another version, the STP Stencil, and in addition to wayfinding projects, both can be used in architectural projects, advertising, packaging, posters, and others. With a complete Latin alphabet, STP Display covers over 90% of the supported languages, covering the whole American continent, East and West Europe and most of the countries of Africa, Asia and Oceania.

Presenting the 🎃 The Crots Typeface 🦇 by alitdesign. The Crots typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Crots font has a horror character with a character shaped like dripping blood, making the horo or Halloween themed design concept even better and unique. The Crots font also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Crots font, creating a Halloween themed design is very quick and easy. The Crots Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with halloween and dark concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Crots Typeface contains 557 + 150 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Many sport publications missed typefaces designed especially for sport communication conditions. We usually see only mechanically slanted or other synthetically destroyed standard typefaces. I want to fill in this space and create a system of fonts, that will be used primarily in sport. It is usable for many prints - logotypes, magazines, catalogues, posters etc. Elasticity of glyphs reflected an adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs „o, c, e“ per poor reading conditions. Softness of lowercase is at uppercase balanced in bottom arches, that are subtly kicked-up. Numerals are an important component of sport communication, so this font offers expressive design, different from numerals of book typefaces. Every font has 9 kinds of numerals. Character case contains over 1000 glyphs, sport icons and othes signs creating the sport feeling. The font name, Akceler, represents acceleration, which is characteristic attribute of this typeface. It’s suitable for display and text usage, too. To see more please visit the PDF specimen. ■24 styles (2 alternatives, 3 grades of dynamics, 4 weights) ■over 1 000 glyphs per font ■9 kinds of numerals ■icons of sport equipment ■8 stylistic sets ■8 kinds of arrows ■23 OT features ■support of latin languages

Idiom is an extra-condensed, tightly spaced display face with congruent forms exuding a strong sense of rhythm and elevation. The basic stenciled geometric shapes are reminiscent of the decorative style found with P22 Albers and Futura Black. Careful consideration of each letter's construction, relative to all characters, lends Idiom a decided sense of cohesion and sophistication. The included non-traditional 'weights' (Medium and Bold) are completely blacked out, creating entirely new letterforms that exhibit a very stark, contemporary sense. Increasing the versatility of the Idiom family, a selection of OpenType features allow access to a set of contrasting linear punctuation forms, unconventional ligatures, case-sensitive punctuation and more. Features include: Basic Ligature set including 'f' ligatures (ae, oe, fi, fl, ff, fh, fj, ft, fa, ct, st, rt, ot, ta, sa, mi, si, vi, su, oc, oo, ru, ib) Alternate characters (M, W, T, ß, _, $, @, (), {}, [], /, \, |, -, –, —, +, -, ±, ≤, ≥, , «, », and more) Case forms (shifts various punctuation marks vertically to a position that works better with all-capital sequences, in this case the numerals or letters with ascenders) Slashed zero Full set of numerators/denominators and superscript/subscript Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Presenting the 🎃 The Zukones Halloween Typeface 🦇 by alitdesign. The Zukones Halloween Typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Zukones Halloween Typeface has a horror character with a character shaped like distortion character, making the horror Halloween themed design concept even better and unique. The Zukones Halloween Typeface also gets a bonus character of 150 Halloween-themed illustrations that make creating designs even easier. Simply by downloading The Zukones Halloween Typeface, creating a Halloween themed design is very quick and easy. The Zukones Halloween Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with halloween and dark concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Zukones Halloween Typeface contains 663 + 150 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Timeless imperfection FS Meridian is a rhythmic geometric grotesque which takes inspiration from the precise yet imperfect nature of time. There are 24 hours in a day. 60 minutes in an hour. 60 seconds in a minute. Well, almost. The Earth’s orbit isn’t a perfect circle – and nor is the Earth itself. Each day varies a few dozen seconds and up to 16 minutes each year. Look closer and time is more flexible than we think. Geometry with a twist From a geometric base, FS Meridian’s rounded forms veer and extend, creating unexpected humanistic shapes – while the straight terminals remain reliably rigid. This combination of forms gives this grotesque sans serif a pleasingly dynamic rhythm, every time it’s read. Added quirks The unconventional character of rigid terminals and ink traps are balanced with emphasized extended forms to develop visual differentiation. Designed by Kristina Jandová, the complete family has been carefully crafted with distinguishing marks. Take a look at the cap ‘Q’ which comes with three alternative options. Deliciously loopy FS Meridian has a wide geometric, mono-liner appearance with humanistic elements. Quirky individual touches like the loopy expressive pound sign help the typeface to stand out. Available in five weights, FS Meridian is both timeless and timely, a distinctive font for all screens and surfaces.

Inspired by the shape of melting icecubes (“isbit” is the norwegian word for “ice cube”), this small superelliptical font family is perfect for logos and headlines. An alternate lowercase a and n is available as stylistic alternates - and a straight lowercase j (which also will be automatically substituted when the normal j would collide with the preceding glyph). ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Bold, muscular, vaguely oriental, Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. The straight-forward, no-nonsense name tells us exactly what to expect: sans-serif letterforms based on wedge-shaped vertical strokes. The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. What is the opposite of "straight-forward" anyway? According to McGrew, Wedge Gothic was originally created for the Chicago Herald newspaper. The designer is unknown. A distinctive display face, useful when a strong and unusual statement is desired. Wedge Gothic ML features: 1. Glyphs for the 1250 Central Europe, the 1252 Western Europe, the 1254 Turkish and the 1257 Baltic Code Pages. Total of 335 glyphs. 2. OpenType GSUB layout features: pnum, ornm, hist & salt. 3. 66 kerning pairs. 4. Both tabular & proportional numbers. 5. Alternate bullets. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.