Have you heard? It’s in the stars: next July we collide with Mars! But until then, there are plenty of good reasons to treat yourself to this swell typeface. LiebeLotte Swell is a great investment for letter lovers who design beautiful things for their friends and family and also for designers who love their clients: Your next birthday invitation? Check. That photo album you’re making for your mom? Check. The business cards you’re designing for your friend who runs a deli? Check. There are so many nice things that want to be designed, and LiebeLotte Swell wants to be your assistant in the old-fashioned way: polite and friendly. Just like her monolinear siblings in the LiebeLotte family, charming LiebeLotte Swell knows how to impress with her perfectly drawn curves and her perfectly connected loopy letterforms. Of course LiebeLotte Swell comes with a state-of-the-art character set. She also sports a variety of ligatures and alternative forms, available through OpenType features. (Please make sure your software supports ligatures for the letter connections and OpenType if you wish to use the advanced features.) Advanced designers, check out the complete LiebeLotte family with six weights of monolinear loopiness. You may also want to take a look at our best-sellers LiebeErika and LiebeKlara, they get along great with LiebeLotte Swell.

Levigate is a graceful script font that beautifully captures the essence of cursive handwriting with a touch of sophistication. This typeface exudes an air of elegance and refinement, making it perfect for projects that require a stylish and polished look. Each letter in this font is meticulously crafted with high contrast, adding a dynamic and eye-catching quality to the font. The combination of thick and thin strokes creates a sense of fluidity and movement, adding a sense of energy and vibrancy to your typography. The swinging endings in some letters of Levigate bring a touch of whimsy and personality to the font. These charming details add a flourish of creativity and uniqueness, making the script come to life with a sense of playfulness. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Levigate fits in headlines, logos, movie posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Mono Rose is a visually prominent display font having unique, attractive letter designs along with rose ornaments to leave lovely, romantic impressions. All of the font letters are designed in special details and have peculiarly unique characteristics to reflect the beauty of a rose making it suitable to apply for any products expressing rose beauty and charm. Furthermore, the blunt and round font letter shapes leave soft and friendly impressions. In fact, Mono Rose is able to produce beautiful, elegant displays to its advantage and able to make your designs look more attractive, and elegant for increasing the product’s attractiveness. You can use this font for big text sizes due to its unique shapes to ease you to read it. Mono Rose provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mono Rose fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The Obla font family is a modern serif typeface accompanied by appropriate italic in seven weights. Sketches of letters were drawn manually, using thick marker for creating shape and pencil for finishing details. Calligraphic origin of shapes is revealed beneath strained curves drawn on computer. All of the weights were carefully adjusted to each other. Obla is equipped with some basic OpenType features and supports Cyrillic and Latin script. Using Obla in small sizes is very convenient, because of its large x-height, and Obla is a very readable typeface. It seduces the reader with its vivacious character. The typeface is also suitable for usage in large sizes. The best choice for headlines is using the heaviest (Black) and the lightest (Thin) weight. There are two smaller family packages in offer: Obla Basic Set contains Regular, Italic, Bold and Bold Italic, while Obla Light Set contains Light, Light Italic, SemiBold and SemiBold Italic. These two sets are the most appropriate for working with small text. Other weights can be bought separately, or within the whole family. Obla is an awarded typeface. It got Special Mention in Cyrillic Typefaces category in Granshan 2016 competition and it was chosen as a Merit Winner in Print’s Typography and Lettering Awards competition. At that time, before publishing, the typeface was named Petra.

Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! CALLING ALL CREATIVE PEOPLE and any other creator who wants their work to stand out. Edcosmic is an urban glyphic font that pours unique character into your creation. The traditional way of having graffiti style is to draw every letter manually. For every styles that you want to create, you’ll have to draw each letter by hand. This will take you days and most likely months to finish your project. With technical development, it limits the use of graffiti style in real life because it is so time consuming. Edcosmic is a graffiti font with an elaborate character set that makes creating the new styles easier than ever before. You don’t have to draw every single letter by hand anymore. What took months can now be done within hours if not minutes! You are still limited by your own creativity instead of time consumption. Edcosmic is a font with a new graffiti character set that gives creative freedom to your world. The font has very detailed characters, this will make your design different from all the others. By having a special font you can create a new style and make the world your own! A Million Thanks www.colllabstudio.com

Somedeals is a captivating script font that beautifully captures the essence of cursive handwriting with a touch of elegance. This typeface exudes a sense of grace and sophistication, making it perfect for projects that require a refined and stylish look. With its smooth and fluid letterforms, this font offers a natural and seamless writing style, evoking the charm of handwritten notes. The high letter contrast in this font adds a dynamic and eye-catching quality, enhancing the overall visual appeal and making each word stand out. The cursive handwriting style of this font ensures that each letter flows gracefully into the next, creating a harmonious and aesthetically pleasing rhythm. This script font exudes a sense of personality and elegance, adding a distinctive flair to your typography. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Somedeals fits in headlines, logos, movie posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

People often have trouble finding a perfect, prominent font to express the project values. You need an instantly attractive font that is able to stand out your designs for something unique and special without consuming a lot of time and costing some money. For that reason we have everything you need. Magma Cracks is a capitalized display font in a visually attractive design along with the big, round, high contrast, cracking letter designs as its unique characteristics. It is suitably applicable for any unique, different font designs to help you emphasize your messages in the graphic designs. This font’s cracking designs can express dramatic, prominent nuances and give unique textures resulting in the artistic displays. Magma Cracks provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Magma Cracks fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

It’s true -- having your own font IS The Secret Of Happiness! At times suave and sophisticated, at other times rough and ready for anything, superstar comics artist Dan Panosian has worked on the likes of CAPTAIN AMERICA, SPAWN, THE FLASH,, SPIDER-MAN, X-THE X-MEN and GREEN LANTERN, as well as the movie, HARRY POTTER AND THE SORCERER'S STONE and games like DUKE NUKEM. He hasn't been seen in comics for some time, but he’s back, baby, working on a series of JOHN TIFFANY bandes desinée, and he’s brought his own font with him, courtesy of that awfully nice John JG Roshell at Comicraft. John Tiffany is one of the best bounty hunters in the world and he has no illusions about the world that employs him. Tiffany relies exclusively on four people: the Reverend Lovejoy, who taught him to love his money; Wan Chao, of the geek underworld who serves as an interface with the outside world; Dorothy, his partner, and Magdalena, the ‘call girl in his life.’ But in Mexico, the hunter has become prey, his head has a price. And if his rivals know his location, it means that John Tiffany was betrayed by one of four people he thought he could trust...and now he can rely on only ONE thing, his secret weapon. His FONT. See the families related to Dan Panosian: Urban Barbarian.

It may be a hard challenge to find an attractive, prominent font in a unique way amid the abundant font options available. Due to the significant reason to find the right font to deliver appropriate messages and emotions, we would like to introduce you to the Monthir, the perfect choice to express any of your project designs. Monthir is a capitalized brush font in brush details to produce authentic looking handwriting displays. The font’s bold, firm displays which are the advantages of such a font can create more interesting, prominent designs. Besides, people can feel closer to the brands or designs created through its personal, natural nuances. The letters’ proportions are relatively consistent, yet its dramatic, bold styles are suitably applied for bigger text sizes rather than the text body. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Monthir fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

The Cabrito family is back again to make a statement. Released as a complement to the children's book, The Clothes Letters Wear, the original Cabrito is light-hearted, fun, and easy to read. Now, balancing this friendliness with a new elegance, Cabrito Contrast steps forward--a handsome typeface with an extra-sophisticated sensibility injected into the design. Still bright and playful in its Cabrito ancestry, this new Cabrito member approaches the field with a cleaner, more reductionist form, ensuring that its polished look retains the readability. Regular features and Italic forms of the 54 fonts include upright alternates, ligatures, and old figures. A range of weights include extended and condensed variants. To preview any of these interactive features, see the PDF manual. The family also includes language support for 72 Latin-based languages, and there are over 600 glyphs for further refining your work. Cabrito Contrast is best used for logos and packaging as well as flyers and websites, though its readability makes it a great option across a wide variety of works. In short, it’s well-designed just for you. Take a stroll with Cabrito Contrast, and see how much fun refinement can be. Along the way, take a look at a few other members of Cabrito, too and see how well the likes of Original, Inverto or Didone can pair with the new Contrast.

Dosca is a unique and elegant display font with a unique Sans serif style. This font offers nine different thickness options, ranging from Thin to Black, providing a variety of options for a variety of applications. Each Dosca thickness has its own unique characteristics, so you can choose the one that best suits your design aesthetic. For example, Thin may be suitable for a light and elegant design, while Black may be used for a more dramatic and bold appearance. Additionally, Dosca comes with various OpenType features. These include features such as ligatures, which allow certain characters to be combined beautifully, and alternative letterforms that provide more design options. With this feature, you can create more interesting and unique text elements in your designs. Dosca is designed to support multiple languages so it is suitable for use in many countries. This makes it very versatile and suitable for a variety of multilingual design projects. So, if you're looking for a font that combines the beauty of Sans serif with a variety of thickness options, useful OpenType features, and multilingual support, Dosca is the perfect choice to meet your design needs. A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs Features: A – Z Character Set a – z Characters set Numerals & Punctuations Ligatures & Alternates Multilingual

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport. In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger. The Frutiger™ family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well. See also the new revised version Frutiger Next from the Linotype Platinum Collection. Featured in: Best Fonts for Logos

Sunday Popice is a delightful display font that brings a dose of cuteness and whimsy to your designs. With its rounded shapes and high contrast, this typeface exudes a unique charm that is perfect for adding a touch of playfulness to any project. Designed with love and attention to detail, Sunday Popice captures the essence of childlike joy and innocence. Each character is carefully crafted with rounded edges, creating a friendly and approachable appearance. The high contrast between thick and thin strokes adds a dynamic and lively quality to the font, making it truly stand out. This font's rounded and soft shapes evoke a sense of warmth and coziness, reminiscent of a Sunday afternoon spent in the company of loved ones. Because of the unique style, for the best readability use this font at large text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Sunday Popice fits in children's books, product packaging, greeting cards, headlines, logos, and any design project that requires a touch of whimsical elegance. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design. With the advent of the engraving machine (a pantograph device) around 1900, commercial engraving moved from the use of hand-cut plates to the use of masterplates (lettering patterns). Lettering was traced from the masterplate using the engraving machine, letter by letter, onto a coated steel plate, that would then be etched in a chemical bath. The resulting plate was used to print engraved stationery with the raised print distinctive to the process. Many of these lettering styles were used for decades for commercial and social applications (letterheads, wedding invitations, etc.), but as they were merely traced alphabets, were not "fonts". Many remain unavailable in digital form. Over time, a number of the most popular styles were adapted to phototype, which sped up the process of plating for engraving, avoiding the need to trace each letter by hand with the engraving machine. Later, when type went digital, these phototype fonts were revived as digital fonts. As a result, the styles offered by engravers narrowed over time, as has the range of engraving styles revived in digital form.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

Night Scream is a spine-chilling display font that brings a horrifying twist to your designs. With its big letters and bold weight, this font commands attention and instills fear. The details of the letters are carefully crafted to resemble menacing plant roots, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, demanding to be noticed. The large size of the letters adds to the font's imposing presence. The root-like details in Night Scream give the font an organic and otherworldly appearance, reminiscent of sinister, twisted plant life. These details add an element of the unknown and create an atmosphere of dread, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Night Scream fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Redfighter is an attention-grabbing display font with a games theme, featuring large letters and a rectangular shape with sharp corners. This font shows large letters that demand attention and make a statement. The generous size of each character ensures maximum visibility and impactful design elements. This design choice allows this font to stand out and grab the viewer's attention with its imposing presence. The rectangular shape with sharp corners in Redfighter adds a sense of structure and strength to the font. The clean lines and defined angles create a visually bold and striking appearance. This unique feature evokes a sense of power and precision, reflecting the intensity and competitiveness found in the gaming world. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Redfighter fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects that aim to create a strong visual impact. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Wooden Alphabet is a peculiar wood texture and shape-inspiring display font having unique, attractive letter designs in prominent uppercases along with wood textures to express natural nuances. All of the font letters are very carefully, smoothly designed in detail as if they were made of real wood. In fact, wood textures on the letters leave the impressions of warmth and nature on the designs. Wooden Alphabet excels at the ability to create natural impressions and warm nuances in order to make your designs look interestingly different for increasing the product’s attractiveness. Such a wood-themed font is a perfect match for any nature, environment, or organic related products. To be greatly legible, you can use it for big text sizes. Wooden Alphabet provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Wooden Alphabet fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Axiforma was designed with the single idea of creating a font that starts with the letter A, because let's face it, this is the best letter. For those of you who didn't see it coming, Axiforma is a /drum roll/ geometric sans in 20 weights. If you are thinking "Oh boy, another geometric sans", you clearly know your stuff. Yet, Axiforma is different in at least three crucial ways: 1) It's made by me 2) It's not free 3) It's polite and humble Additionally, Axiforma is packed with Opentype such as oldstyle numbers, fractions, case sensitive alternates, localized forms, stylistic sets, cyrillic alphabets (Bulgarian & Russian) and many more. Basically it's quite extensive and kinda great. Upon using Axiforma, clients will start to behave differently around you and may even start paying you. Your spouse will start working out again just to gain your attention and your kid will become instantly popular at school. After all you are using Axiforma and rumors do spread quickly. That's what we are talking about - raw font power. With Axiforma regular typed text is suddently transformed into first class design. That includes branding, posters, headlines, display, presentation materials, websites, logotypes, etc. The world will now be your playground. To sum it up, Axiforma is badass, thus you should have it and use it everywhere.

Another variation on the Renaissance-Baroque Roman face, it extends the selection of text type faces. In comparison with Jannon, the contrast within the letters has been enhanced. The dynamic elements of the Renaissance Roman face have been strengthened in a way which is illustrated best in the letters "a", "b" and "s". These letters contain, in condensed form, the principle of this type face - in round shapes the dark stroke invariably has a round finial at one end and a sharp one at the other. Another typical feature is the lower-case "g"; the upper part of this letter consists of two geometrically exact circles, the inner of which, a negative one, is immersed down on the right, upright to the direction of the lower loop and the upright knob. The vertical strokes slightly splay out upwards. Some details of the upper-case letters may seem to be too daring, but they are less apparent in the text sizes. It has to be admitted that typographers tend to draw letters in exaggerated sizes, as a result of which they stick to details. Serapion Italic are italics inspired partly by the Renaissance Cancelleresca. This is obvious from the drop-shaped finials of its lower-case descenders. The type face is suitable for illustrated books, art posters and short texts. It has a rather ugly name - after St. Serapion.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

This old classic font has an interesting history, it was originally cut with lowercase by the Bruce Type Foundry in 1865 and listed as Ornamented No. 1514. Around 1903 the Bruce foundry was bought by ATF, in 1933 this font was revived by ATF as Caps only and was given the Gold Rush name but was sometimes called Klondike. A similar version of this font with lowercase and radiused serifs was produced by the James Conner's Sons Type Foundry around 1888. In the past other foundries such as the Carroll foundry, Type Founders of Phoenix and the Los Angeles Type Foundry have produced an all caps version of this font. After examining several printed sources of this font from more recent books I found that the original from Bruce's 1882 book was by far the best in design quality, it was also the only printed source that included the lowercase. New open faced, ornamented and distressed versions have been added to this old classic font, there are also many extended characters for Western, Central and Eastern European countries. The Gold Rush Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. Also available is a spurred version of this font listed under the name Gold Spur.

Scary Notes is a spine-chilling display font designed to evoke fear and horror. With its big letters and bold weight, this font demands attention and is sure to send shivers down your spine. The details of the letters are meticulously crafted to resemble brush strokes, adding an unsettling and handcrafted touch to the font. Each letter in Scary Notes is bold and commanding, creating an impactful presence that cannot be ignored. The big size of the letters adds to the font's intensity. The brush details in this font give the font an organic and chaotic appearance, reminiscent of chilling hand-painted writings. These details add a sense of unpredictability and terror, immersing the viewer into the world of horror and fear. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Scary Notes fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Many local variants of the Greek alphabet were employed in ancient Greece during the archaic and early classical periods, until around 400 BC, when they were replaced by the classical 24-letter alphabet that is the standard today. All forms of the Greek alphabet were originally based on the shared inventory of the 22 symbols of the Phoenician alphabet, with the exception of the letter Samekh, whose Greek counterpart Xi (Ξ) was used only in a sub-group of Greek alphabets, and with the common addition of Upsilon (Υ) for the vowel /u, ū/.[1][2] The local, so-called epichoric, alphabets differed in many ways: in the use of the consonant symbols Χ, Φ and Ψ; in the use of the innovative long vowel letters (Ω and Η), in the absence or presence of Η in its original consonant function (/h/); in the use or non-use of certain archaic letters (Ϝ = /w/, Ϙ = /k/, Ϻ = /s/); and in many details of the individual shapes of each letter. The system now familiar as the standard 24-letter Greek alphabet was originally the regional variant of the Ionian cities in Anatolia. It was officially adopted in Athens in 403 BC and in most of the rest of the Greek world by the middle of the 4th century BC.

This is the first true pixel-font released by CheapProFonts. It may not be the first font based on a 5x5 pixel grid, but it probably has the best language support. The glyphs have all been optimized for Flash (by making the pixel shapes slightly overlapping) and should render sharp and perfect when set in 10px size (or multitudes of 10). As with all pixelfonts: make sure to place the text at coordinates with whole numbers, and always use left (and NEVER centered) alignment. 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.

The idea for this completely new font design with overlapping characters came when Axel Stoltenberg, longtime IKARUS program developer at URW + +, visited a restaurant. As it can be seen quite often , the daily specials were offered handwritten with chalk on a blackboard applying a writing technique never been available before for digital fonts: each character is partly covered by its predecessor creating a three-dimensional effect. The implementation of this unusual notation for digital setting required a lot of programming and testing until all necessary character variants were produced and set properly always using the correct form. In order to achieve this, the OpenType Pro font ThreeDee contains about 12,400 characters and all the necessary OpenType features (GSUB ) for the automatic setting in OTF savvy application programs. The slightly playful basic design for ThreeDee was created by Anna Stoltenberg , the daughter of Axel, specially devised for the innovative representation and support of its special nature. The shadow generated with IKARUS even intensifies the 3D effect. As is well-known, making use of the embedded OTF features, i.e. the automatic access to all the 12,400 character variants , a corresponding text / layout program ( InDesign, Quark Xpress, current Open / LibreOffice or MS Word etc. ) is required. ThreeDee is a headline font that will unveil all its charisma and exceptional quality at appropriate, larger sizes.

Pershal is something of an oddball, and that's the point. Dynamic and fast, Pershal attracts interest. Its architecture evokes growth and progress. Inspired by the futuristic styles of the 1990s, Pershal started on an aircraft ride as a sketch on a napkin. I set the concept aside for almost a decade before I went back to play with the typeface. Pershal is planned to complement applications in consumer finance, technology firms or biotechnology. As such, it has a complete set of both tabular and proportional figures. For the lowercase, Pershal features a distinctive shape that emphasizes its x-height. Its horizontal movement is highlighted by some of its other features, such as its crossbars. To emphasize growth, acceleration and inventiveness, crossbars and other elements are cut at a dynamic angle. It's a sans serif without a lot of contrast. Another unique feature of this typeface is the vast number of OpenType alternates. If you prefer a more conventional appearance to your sans, with stylistic alternates, you have that option. Altogether, there are more than seven separate sets of stylistic alternates and about 250 alternates for characters. This enables you to mix-and-match and create your own personal typeface. For branding, this makes it very useful. For your next project that requires a dynamic and technological appearance, give Pershal a shot.

Forget that hipster coolness for a minute and design something cute and charming with LiebeLotte! Go ahead and make beautiful things with her: birthday cards, wedding invitations, love letters, new signage for your deli—so many things look sweeter when you use this well-crafted handwriting font. We’ve put all of our heart and soul into this typeface—it took us a whole year to draw, refine, and interconnect all these loopy letterforms. We hope it’s really hard to tell that this is a typeface at all—the perfect connections and many swash variations make it look like you actually sat down with a pen. A pretty good pen in fact. LiebeLotte comes with a state-of-the-art character set. She also sports a variety of ligatures and alternative forms, available through OpenType features. (Please make sure your software supports ligatures for the letter connections and OpenType if you wish to use the advanced features.) Advanced designers, please take a look at our best-sellers LiebeErika and LiebeKlara: the all-new LiebeLotte makes a great companion for these popular fonts. We do think you’ll have plenty of fun with this versatile package of loopy letters for letter lovers. Or lovely letters for loop lovers. And hey, you can absolutely use LiebeLotte to make happy hipster designs, too! Promise!

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Klatter is a font that is "in your face". It can't be ignored, and draws attention to itself no matter how noisy the environment. It is available in three styles: - Klatter Regular is a clean, spunky, non-grunge font that uses a combination of straight lines and sharp angles to make a strong, no-nonsense statement; - Klatter SmallCaps, in which the lower case is a true "small caps" and not a shrunken version of the upper case (generated by the operating system); - Klatter Grunge is based on Klatter Regular but is "dirty" and messy, giving the impression of printing problems and wet ink being smudged. Unlike many other grunge fonts, Klatter Grunge is a font that is full of character. Both styles have a full character set with upper and lower case, numerals and mathematical symbols, as well as a full set of accented and special characters. The font has been carefully letter-spaced and kerned and the vertical spacing has been appropriately set. Klatter Grunge and Regular are appropriately purchased together since they complement one another when used in the same graphic design job.

Aldero™ strives to be as useful to any design environment as Alder trees are to the forest. Wildlife and insects feed on Alder leaves and seeds. The tree also provides shelter for animals in winter while its shades keep streams from getting too hot in summer. The trunks and branches are excellent habitats for lichens and mosses. The nitrogen-rich leaves help fertilize the soil where they landed. Alder’s utilitarian nature inspires us to create Aldero™, a handy, versatile, go-to type family for all professional designers. To achieve what we set out to do, we gave Aldero™ the two-in-one looks, doubled the sets of ligatures, and loaded it with plenty more of Opentype features. We put in long hours, months after months, until we are proud of the outcome. And we truly believe that you will enjoy working with this typeface as much as we do. With five weights, ten styles, and 1,100+ glyphs per style, this versatile typeface comes with virtually two looks. The standard glyph set is perfect for formal, corporate design, while the stylistic alternate set elicits a fun, friendly, and casual feel. You can use each style separately or mix and match them to achieve your design aesthetic. Thanks to these options, a wide range of design possibilities are at your fingertips. In addition to the two large sets of ligatures (for both the standard and the stylistic glyph sets), we also pack tons of Opentype features into Aldero™ to improve your user experience while working with this typeface. To activate the case-sensitive features, for example, highlight the phrase with the type tool, then hit the “All Caps” button; or select each mark, punctuations, or symbols with the type tool, then choose the case-sensitive option from the Opentype popup window. Hope you enjoy working with Aldero™ as much as we do! To find out more about Aldero™ Opentype features and type specimen, please visit https://r9typedesign.com/aldero-features

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Plumage is somewhat unusual in that it has elements of calligraphy as well as script in a semi-loose form that gives it a pleasing appearance for both large and small sizes, and interesting flare finish strokes add to its unique character. As I read a dictionary description of "plumage", I realized that in many ways there is a parallel between a bird's plumage and how it is utilized in the context of writing: Plumage varies in pattern and arrangement for different purposes; what it expresses can of course be even more interesting. Plumage is disposable after a season, as new ones become available... imagine, a self-sustaining quill! - I guess that's equivalent to a refill or disposable pen. Historically, quill pens were made from feathers of a variety of birds, each chosen for its special characteristics. The sturdiest and most reliable feathers, however, come from turkeys, swans and geese. Feathers used to make pens are the stiff-spined flight feathers on the leading edge of the bird's wing. Pens for right-handed writers come from the left wing, and pens for left-handers, from the right! Each bird yields 10-12 good quills, and sometimes only 2 or 3 - so small a yield that the geese reared in England could not furnish nearly enough for local demand, and quills were imported from the Continent in large quantities. At one point St Petersburg in Russia was sending 27 million quills a year to the UK. It is said that geese were specially bred by US President Thomas Jefferson (1743-1826) to supply his own vast need for quills - in his lifetime he wrote almost 20,000 letters. The name "Plumage" was selected to pay homage to the noble birds that supplied countless quills for centuries of literary works. Plumage is recommended for any formal or informal invitation, decorations, awards, poetry, plaques, etc. We hope you will have the pleasure of using Plumage.