Factum is a classical style serif typeface that sets the mood and evokes emoti­­­­­­ons before you read the text. Interchanging thick and thin lines, especially in Medium and Bold styles, creates an elegant silhouette and a rhythm in title sheet, cover art or poster. Yet Light and Regular styles look great in large type as well as headlines. Another speciality of the font family is Stencil styles that help you play around your typography and logotypes. Rich heritage and cultural experience behind the classical design make Factum font perfect for texts and messages connected to glamour, fashion, arts, literature, architecture, science, education, travelling, fine dining, cosmetics, beauty and etc. Timeless pattern and variety of weights and styles will make you use the font family again and again in different projects: creating logo, articles in magazines, branding, wedding invitations, quotes, posters, advertisements, monograms and many more. Character set of each font includes all European Latin-based glyphs, numbers, punctuation and OpenType features like standard ligatures, discretionary ligatures and fractions.

This stylish swashbuckling typeface had a very limited character set, but with the CheapProFonts treatment this buried treasure is ready to be rediscovered. Character map included. "Arrr! Shiver me timbers!" 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.

Introducing "Ryzes" – a font that plunges you into the immersive world of cyber graffiti with a distinct cyberpunk feel. This font is your gateway to a dystopian digital realm, combining edgy aesthetics with a futuristic vibe that speaks of rebellion and technology. "Ryzes" captures the very essence of the cyberpunk genre, offering a text that embodies the rebellious and high-tech spirit of a dystopian future. Each character resonates with the anarchic energy and unconventional style of cyber graffiti, making your designs pop with a captivating and distinctive edge. In our globalized world, language is a bridge that knows no borders. "Ryzes" is equipped with extensive multi-language support, ensuring that your message can be effectively communicated to audiences around the world, regardless of language or script. Complete Character Set: "Ryzes" boasts a comprehensive character set that includes both uppercase and lowercase letters, numerals, and a rich selection of symbols and punctuations. This versatility ensures that your text is not only visually stunning but also functionally adaptable. But that's not all. "Ryzes" takes your creativity a step further with an extruded version. This adds depth and dimension to your designs, allowing you to effortlessly create 3D text that embodies the cyberpunk aesthetic. The combination of the regular and extruded styles offers endless possibilities for crafting captivating 3D designs. Whether you're working on cyberpunk-inspired branding, futuristic posters, or any project that demands a cyber graffiti aesthetic, "Ryzes" is your ultimate companion for pushing the boundaries of design. Dive into a world where rebellion meets technology and let "Ryzes" be your creative tool in crafting designs that resonate with the electrifying spirit of the cyberpunk genre in 2D and 3D dimensions, bursting with color and pop culture excitement. ——— Ryzes features: A full set of Uppercase and Lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +274 Total Glyphs ——— Ryzes Includes: Ryzes Regular Ryzes Extruded Left Ryzes Extruded Right

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

What's Included : • Ligatures • Works for PC and Mac • Simple installation • 7 styles: 1 undistressed, 6 distressed • 500+ glyphs in each type • More than 75 languages are supported, including extended Latin. • Each style includes 12 OpenType features, including stylistic alternatives, ligatures, old-fashioned figures, and other helpful elements. • Two different swash ending varieties. • Non connected forms • All connected forms, including caps • Randomly selected character forms for organic looking textures. Sophima exudes languorous luxury. The writing glides around, changing elevation above and below the standard x-height, giving it a lively and raucous vibe. Sophima is designed for 3D printing. I required a contemporary script with technical elements that could be printed using a 3D printer. This necessitates the use of quite thick linking characters. Another result of this technology was the need that all letters, including caps, be linked. Such letters are included in optional Opentype style sets. The unusual technological limitation gave the design a new and distinct vibe. Sophima may be used for a variety of purposes, including headlines, weddings, social media, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signage, gift/post cards, cafés, and weddings. Designers have a plethora of alternatives from which to pick, giving them greater variety, power, and creative flexibility. Automatic ligatures for best character connections are supplied, as are alternate ending characters that appear at the end of words that lack connectors or have lengthy swash endings. Sophima is made up of five fonts: one standard and five texture variants that change the tone of the typeface. Each design has 500 characters and is available in more than 75 languages. The typeface has 15 OpenType features, such as stylistic alternates that change the look of characters, ligatures, and more. Constraints and a desire to solve challenges breed the finest creativity. And there's no question that Sophima came up with a solution to the situation. Now use Sophima to create your own designs.

It can be tricky to find typefaces that can convey the feeling of personal warmth that comes from a handwritten note, custom brandings, special series of products, especially as we type more and more and write with a pen or pencil less and less. To add some more of that warmth to a font, I’ve made Ronet. A duo font based on the my handwriting. Double eponymous styles of the font —Ronet and Ronet Alternative— each have a unique flavor with its own rhythm and character. It can be used on branding designs, product labels, invitation cards, social purposes which is bloggers, influencers but they were capable of so much more, and I’m happy to share them for general use. Ronet has extraordinary alternative characters, that makes these fonts so impressive. These two styles have dynamic substitution, alternates, and beautiful kerning! Nevertheless, they each support an impressive range of languages using the Extended Latin alphabets and because they were designed to work well in a simple tool, a rare feature of these fonts is that they look just as good no matter where you use them. LOTS of writing, and then even more care once I developed and refined digital outlines from the samples. Ronet and Ronet Alternative each wrote pages and pages of letters to produce lots of examples for comparison and selection, in order to get the most authentic overall texture that captured the spirit of my left hand.. Ronet feels friendly and personal, like a neighbor or local shopkeeper who always seems happy to see you. This will perk up your social feeds in a snap. Start with Ronet and just add in your design to make it perfect. What started with a simple pen and paper has become a diverse and ever-expanding creative outlet that blends hand-drawn creativity with cutting-edge technology — and the end results are popping out everywhere, from advertising to design and decor to art and DIY.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

Oktah Round Overview: 1600+ characters per font 16 static fonts 1 variable fonts Extensive OpenType features Support for 220+ Languages (Latin & Cyrillic) Special Symbols, Alternate Sets, and Features Free Trial Fonts Available Oktah Round is a rounded version of Oktah Neue. Oktah Round is soft and friendly, modern and warm. It's a typeface that combines human touch with high functionality. Oktah Round comes equipped with 1600+ characters per font and is available in 16 styles (from Thin to Black), and as a variable font that allows you to change weight and slant angle. Oktah Round supports more than 200 Latin languages and has amazing support for Cyrillic languages like Bulgarian, Serbian, Ukrainian, Macedonian, Russian, and others. Relying heavily on the geometric forms and proportions first introduced in Oktah, this rounded version does more than just smooth out a few corners. To make curves sharper and more uniform, some terminals were modified. Other visual features (like curving tails in 'l' and 't') were dropped to create more clear cut look. Oktah Round is perfectly balanced and finely tuned to be the font you'd want to use again and again. The variety or styles and availability of a variable font give Oktah Round a potential to be used across multiple mediums. Oktah Round supports most Latin based languages, it also has support for Extended Cyrillic. The remainder of the extensive 1600+ glyph character set is reserved for punctuation, numbers, special symbols, and all sorts of additional symbols like squared numbers, geometric shapes, etc. All characters are evenly spaced and carefully kerned, so that there are no overlaps or glaring gaps in any language. OpenType features include Legible Alternates, Case Sensitive Punctuation, Fractions, Sub- and Superscript, Black and White Circled Figures, Ligatures, Oldstyle Figures, Tabular Figures and many others. The variable font incorporates both axes (Weight and Slant) and can be used for web and graphic design alike. 16 static font styles can be purchased separately or as part of Oktah Round family. Two fonts can be downloaded free of charge.

🏆 Selected for Tipos Latinos 9. 🏆 Selected for the 13th Biennial of Brazilian Graphic Design. 🏆 Hiii Typography 2018 Merit Award. Kiperman is a text typeface designed in honor of Henrique Leão Kiperman, founder of the publishing house Artmed, now Grupo A. Its forms are simple and straightforward, with no unnecessary embellishments that could disturb the reading. The fonts are slightly narrower than normal, which yields higher efficiency without compromising reading comfort. Besides that, its italics are not just a slanted version of the romans, but rather a separate drawing. With a slope of 8°, its calligraphic structure provides the right amount of emphasis when necessary. The Kiperman typeface works best when setting books, magazines, ebooks and websites. It will also work very well in branding and packaging projects where a sober typeface is needed. The inspiration for the design came from the personality of the honoree. Just as Henrique always wanted to stay away from spotlights, the Kiperman typeface was designed so that it would not call attention to itself or impose any obstacles in the understanding of the text. In this way, the fonts revere Henrique’s legacy by respecting and honoring the published content. Henrique Leão Kiperman began his career in 1958, selling medical books in travels through the interior of the Brazilian states of Paraná and Santa Catarina. In 1973, he opened a bookstore in downtown Porto Alegre, the Artes Médicas Sul, and a few years later edited his first book. Since then, his company has grown to become one of the most important publishers in Brazil in the area of scientific, technical and professional books, with more than 2400 active titles distributed among the McGraw Hill, Bookman, Artmed, Penso and Artes Médicas imprints. Henrique passed away in 2017 at the age of 79. The Kiperman type family has been commissioned by Grupo A and is available for licensing. This was the way found for the fonts to be read by more people, spreading some of his spirit around the world.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh quality that, once developed, turned out to be perfect for Jelesijevic’s project. After its first use, however, Nova Lineta lay dormant for over a year. Other projects came and went, and new typeface ideas filled Jelesijevic’s notebook. Although Nova Lineta continued to tickle the creative crevices of his mind, no more work was done on the face. Then, in a period between projects, Jelesijevic began to polish the design – and, in the process, created extended and condensed versions to complement the normally-proportioned original. Born in Gornji Milanovac, Serbia in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in Belgrade. These days, Jelesijevic is sought out not only as a typeface designer, but also as a graphic designer and illustrator. When not working on design projects, he teaches graphic communication at the Faculty of Art in Niš, Serbia. Although it is a casual and inviting design, Nova Lineta has been carefully constructed and refined. As a result, it performs exceptionally well within a wide range of sizes and in a wealth of applications. An ample x-height, open counters and distinctive character shapes also ensure a high level of legibility. And, although at first glance Nova Lineta may appear to be a sans serif design, subtle serifs make their presence known at large sizes. Nova Lineta emanates warmth when used for extensive text, and it has a fresh quality at display sizes. The small family’s range of proportions also provides added flexibility. The result is a friendly yet powerful communication tool in a remarkably modestly-sized package.

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

Bright Bride - Beautiful Script Font Introducing Bright Bride, a stunning and elegant script font that exudes sophistication and beauty. This font was carefully crafted with the intention of adding a touch of glamour to any design project. Its clean lines and flowing curves create a sense of grace and charm, making it perfect for wedding invitations, branding projects, social media posts, and much more. For those seeking a romantic and feminine touch, Bright Bride is the perfect font choice. Its delicate strokes and intricate details add a level of elegance that is sure to catch the eye of any viewer. Pair it with soft pastels or classic black and white to create a stunning contrast that will make your designs stand out. One of the standout features of Bright Bride is its OpenType alternates and ligatures. These unique letter combinations add an extra level of creativity and customization to your designs. Plus, with full multilingual support, this font can be used for projects in a variety of languages. The Bright Bride font package includes three different file formats: OTF, TTF, and WOFF. This makes it easy to use the font across a variety of design software and platforms. Whether you're a professional graphic designer or a casual hobbyist, this font is sure to be a valuable addition to your design arsenal. If you're looking for a font that is both stunning and versatile, look no further than Bright Bride. Its unique combination of elegance and creativity make it a perfect fit for a wide range of projects. So why wait? Add Bright Bride to your font collection today and start creating designs that are truly unforgettable. In summary, Bright Bride is a beautiful and sophisticated script font with delicate strokes and intricate details. It comes with OpenType alternates and ligatures, multilingual support, and three different file formats: OTF, TTF, and WOFF. This font is perfect for wedding invitations, branding projects, social media posts, and more.

Bely is the first design by French newcomer Roxane Gataud. Too many typefaces are either governed by fear and never accomplish what they could, or are unrestrained which results in their frenetic dangling like a leaf caught in a spider’s web. Bely’s strength is that it has both restraint and freedom throughout the text weights and into the unique display weight. There is no fear in this type family, but only great respect for both the tradition of reading and the opportunity to make an impression. Bely is a high-class throwback containing four text weights which were built upon classical proportions to capitalise on reading familiarity. Bely Text features balanced capitals and a play between large, triangular serifs at the top and thick, bracketed, rectangular serifs at the bottom. The family is capped by a radical, expressive French-style display weight which pushes the rules of the text weights to their logical extreme. Bely Display, truly daring with its monstrous and angled contrast, exploits the features which make an impression at larger sizes. In the end, Bely Display is adventurous when used in packaging, identities, and headlines with attitude, while Bely Text’s calm baseline and piercing ascenders give paragraphs texture and familiarity. Bely covers the Latin A Extended glyph set and brings its sense of confidence to your projects with its two text weights, matching italics, and unique display style. Bely’s satisfying OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Bely family, along with our entire catalogue, has been optimised for today’s varied screen uses. Awards – Selected for TypeTogether’s Typeface Publishing Incentive Programme scholarship in 2014. – Selected by French magazine Étapes for the 2014 Diploma Issue. – Selected for the 2014 exhibition “TransFormations” at Centre Pompidou. — Received the SOTA catalyst Award 2016

Lapture is based on the Leipziger Antiqua by Albert Kapr, released in 1971 by the East German foundry Typoart. It has been extended and carefully redesigned by Tim Ahrens in 2002-05. The strong calligraphic characteristics are a result of the design process: "The size of the counters and the width of individual characters at small optical sizes were analysed with a steel pen while the letter shapes were designed in larger size with a specially trimmed reed pen. Sometimes the hand is more innovative than the head alone," says Kapr. A unique feature of this font is the introduction of gothic shapes into a latin typeface. "The basic concept is to string together narrow white hexagons as counters and inter-letter spaces, defined by vertical stems and triangular serifs. The interior spaces are at least as important as the strokes that make up the characters." Lapture is an ideal choice if a reference to gothic style is desired, as true black letter types are often too eye-catching and not as legible as latin fonts for unfamiliar readers. "The last few years have seen a number of very elegant typefaces based on the mellow and feminine renaissance model. However, sometimes we require a font that is strong and robust, harmonic yet rigid," says designer Tim Ahrens. JAF Lapture is provided in OpenType format. Each font contains more than 600 glyphs, including true small caps, nine sorts of figures, contextual and stylistic alternates and accented characters. This means that you only need to purchase one font whereas in other families you would have to buy two or three fonts in order to get the same. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. JAF Lapture Basic is provided in OpenType format. Each font contains the standard sets of both MacOS and Windows. In contrast to JAF Lapture they do not provide any advanced OpenType features and no extended glyph set.

Introducing Morvien Typeface - a bold and dynamic display font that brings a unique edge to your creative projects. With its distinctive torn shapes and powerful design, Morvien Typeface is the perfect choice for film titles, game interfaces, comic book lettering, superhero themes, and music posters. This font is not just a typeface; it's an artistic statement that adds a touch of drama and excitement to your visual creations. Torn Shapes Design: Morvien Typeface stands out with its edgy and torn shapes, giving your text a rebellious and energetic vibe. Each character is carefully crafted to convey a sense of dynamism and movement. Display Style: Morvien Typeface is designed specifically for display purposes, ensuring that your headlines and titles command attention. The bold and impactful strokes make it ideal for creating a strong visual impact. Ligatures and Alternatives: Morvien Typeface includes a rich set of ligatures and alternative characters, providing you with creative flexibility. Experiment with different combinations to customize your text and make it uniquely yours. 633 Characters: Morvien Typeface boasts an extensive character set with 633 characters, offering a wide range of options for your design needs. Whether you're working on a detailed project or a quick creative piece, Morvien Typeface has you covered. Multilingual Support: Morvien Typeface is crafted with global compatibility in mind, supporting multiple languages. Now you can express your creativity in various linguistic contexts without compromising on style. Versatile Usage: Morvien Typeface is well-suited for a variety of creative projects, including film titles, game interfaces, comic book lettering, superhero-themed designs, and music posters. Its versatility makes it a go-to choice for projects that demand a bold and expressive typographic style. Elevate your design projects with Morvien Typeface and let your text speak with intensity. Embrace the torn shapes, explore ligatures, and make a lasting impression with this powerful and versatile display font. Your creativity knows no bounds with Morvien!

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

The impetus behind Felbridge was both ambitious and highly practical: to develop an ideal online" typeface for use in web pages and electronic media. Robin Nicholas, the family's designer, explains, "I wanted a straightforward sans serif with strong, clear letterforms which would not degrade when viewed in low resolution environments." Not surprisingly, the design also performs exceptionally well in traditional print applications. In 2001, to achieve his goal, Nicholas adjusted the interior strokes of complex characters like the M and W to prevent on-screen pixel build-up and improve legibility. Characters with round strokes were drawn with squared proportions to take full advantage of screen real estate. In addition, small serifs were added to characters like the I, j and l to improve both legibility and readability. "The result," according to Nicholas, "is a typeface with a slightly humanist feel, economical in use and outstanding legibility - even at relatively small point sizes. Most sans serif typefaces have italics based on the simple "sloped Roman" principle, but italic forms for Felbridge have been drawn in the tradition of being visually lighter than their related Roman fonts, providing a strong contrast when the italic is used for emphasis in Roman text. The italic letter shapes also have a slightly calligraphic flavor and distinctive "hooked" strokes that improve fluency. Felbridge is available in four weights of Roman - Light, Regular, Bold and Extra Bold - with complementary italics for the Regular and Bold designs. The result is a remarkably versatile typeface family, equally comfortable in magazine text copy or in display work for advertising and product branding. As a branding typeface, Felbridge works in all environments from traditional hardcopy materials to web design, and is even suitable for general office use. As part of a corporate identity, this no-nonsense typeface family will be a distinctive and effective communications tool." Felbridge™ font field guide including best practices, font pairings and alternatives.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

A literary font FS Neruda takes its name from Chilean poet Pablo Neruda, described as “the greatest poet of the 20th century in any language”. As such, it’s a font that references the very best literary typeface traditions. Smart, sharp and classical, FS Neruda bridges the gap between the classical and the offbeat. This font started life in the world of newspapers and books and is the perfect storytelling typeface for savvy, inquiring readers whether in printed journals, hard news, short online missives or poetry. Idiosyncratic precision FS Neruda is clear and legible in body text, while also being a space-saver fitting in more characters on each line than the typefaces that inspired it. In larger sizes it becomes a different beast – livelier, quirkier, but no less sharp. This is a truly classic typeface designed with long text setting in mind, thanks to its large x-heights, and short ascenders and descenders. FS Neruda mixes suave, sharp confidence with a sense of fragility and quirkiness. It’s knowledgeable, informative and idiosyncratic; one for readers and enquiring minds. Subtle weight modifications The construction and details of the letterforms differ across each of the five weights, with each cut separately to evoke different flavours: Thin is typewriter-like, Light is classy, Regular is canonical, Bold is robust, Black is magazine-esque. FS Neruda also boasts a radiant italic companion, a wide set of small caps, lower and uppercase ligatures, case punctuation and spacing, four sets of figures, and some ageless typographic symbols such as manicules, fleurons and teardrop crosses. Suggestive simplicity “The key to success in the current type design landscape is to design a typeface which looks conventional at text sizes but has a few small, suggestive touches visible at bigger sizes that make it distinct,” says designer Pedro Arilla. “Another thing we wanted to achieve with this typeface is simplicity.” FS Neruda is available in ten carefully crafted styles: it’s designed to work perfectly at text sizes, but still glows as a display typeface.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina's story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn't even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born.

Geometric, stylish, and not quite a stencil face: Glance Sans is the urban alter ego of Glance Slab—a strong-willed sans-serif with no frills but a few unique character traits. Glance Sans follows the design principle of nonjoining parts that made Glance Slab successful. Some strokes may not connect to their stems, creating visible gaps and thus, a dynamic impression of balance and movement. However, Glance Sans has a calmer appearance due to the lack of detached serifs. If Glance Slab’s home territory are large, crowded stadiums and massive sports events, Glance Sans prefers streetball courts, well-used skate parks, and underground clubs. It also adapts to urban work environments from finance to high-tech. Whenever a more toned-down look is called for while retaining the elegance of an athlete, Glance Sans is ready to roll. In the city environment, versatility is key. That’s why Glance Sans sports 7 weights as well as a complete set of italics. These are not just sloped romans but individually drawn letterforms, subtly referencing classic italic construction for more effective emphasis. Among the 600+ glyphs of Glance Sans, you’ll find goodies such as six sets of figures, circled numbers, circled arrows, and all kinds of currency symbols in two stylistic versions. Glance Sans is a great tool for industrial and high-tech branding, for wayfinding systems in contemporary or modernist architecture, for corporate identities in arts, crafts, medicine, culture, and education, and for all kinds of sports-themed design. Both members of the Glance superfamily are easily and effectively combinable; both are able to stand on their own feet. With its powerful italics, you might opt for Glance Sans as your text typeface and use Glance Slab for headlines. Or you set large, clean, display-sized lines in Glance Sans and spice them up with a bit of sportive Glance Slab. It’s up to you to decide how to bring out the best in both of them.

Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much. So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss. These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.

Buffet Script is based on fantastic calligraphy by Alf Becker, arguably the greatest American sign lettering artist of all time. The Alf Becker series of nameless alphabets published by Sign of the Times magazine in 1941 has attracted letter digitizers for a few years now, so it’s really a wonder that a few of those alphabets are still in the non-digital realm. It is understandable, though, that the basis for Buffet Script was not digitally attempted until now. The page presenting this alphabet shows a jungle of letters running into each others and swashes intertwining. The massive amount of work involved in digitizing such lettering, where scanning is nowhere near being an option, is quite obvious at a mere glance. If anyone was going to commit this particular alphabet to a digital form, it would have to be redrawn stroke by stroke and curve by curve on the computer. And don't we love a challenge! But seriously, the challenge was not the main attraction. In a way, the Becker approach to lettering is so far from digital that the imagination is almost forced to work out possibilities and letter combinations to solve problems presented by the scant showings in that magazine. After a few imaginative visualizations, the digital potential becomes clear in the mind, and the eye and hand follow. The result with Whomp (another Alf Becker-inspired work) was an enormous font with a lot of alternates and ligatures. With Buffet Script the imaginative process was no different, but the result particularly shines here, because this is some of the most fascinating flowing calligraphy ever seen. Calligraphy is where the accountability of all the little extra touches, such as alternates and swashes and ligatures, is raised to a higher level than in most other type categories. Buffet Script’s OpenType programming contains discretionary ligatures, stylistic and contextual alternates, interacting with each other to allow the composition of just the right word or sentence. This font is best used where lush elegance is one of the design’s requirements.

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

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

United Kings is a masterfully crafted formal script font that exudes an air of perfection and fine art. Designed for high-end projects and showcasing genuine, authentic craftsmanship, this font brings an unparalleled sense of balance and beauty to your creative work. The exquisite, well-crafted letterforms of United Kings make it an exceptional choice for logotypes, professional branding, and artisanal projects that require a touch of finesse and sophistication. Use ¤ to make tail swashes, or multiple for longer swashes. Example: Kingdom¤¤¤ Use underscores _ anywhere in a word to make an underline. Example: Belo__ved Use # after any letter to give it a crown. Example: Que#en The United Kings font family includes six elegant styles to suit various design needs: The weights Thin, Regular and Bold, enabling your design to range from a delicate and graceful style for a refined touch, to a more bold, assertive and captivating presence for impactful designs. In addition to the thicknesses, each style is provided as Italic. Built with advanced OpenType functionality, United Kings ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs as unique and impressive as the font itself. United Kings offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

Amherst is a family of blackletter-inspired typefaces. This family, created by British designer Richard Yeend in 2002, is unique in that it mains the feel of blackletter/medieval type without relying directly on historical forms. Amherst is split into two different sub-families, Amherst and Amherst Gothic. Amherst is very geometric interpretation of Fraktur. Fraktur was a style of German type very popular in central Europe from 1517 until the early 20th Century. Its letters appear "broken" at certain angles and joints. Still, we recommend using it primarily for display purposes. Amherst is available in three weights: Regular, Bold, and Heavy. Amherst Gothic is very loosely inspired by late medieval letterforms, often called Texturas or Gothics. However, the letterforms of Amherst Gothic seem just as inspired by the Art Deco movements of the 1920s and by contemporary sans serif type design as anything else. Nevertheless, certain letters in this typeface do appear more "gothic" than others, especially A, D, M, Y, d, r, and x. Amherst Gothic is made up of three fonts, Amherst Gothic Split, Amherst Gothic Split Alternate, and Amherst Gothic Italic. Amherst Gothic Split has in-lined characters, and appears very ornamented. The alternate characters in Amherst Gothic Split Alternate are quite medieval in their appearance. Amherst Gothic Italic is the least medieval-looking of the set; its characters are very round, and more geometric. All six styles of the Amherst Family are OpenType format fonts, and include old style figures.

Super Puff MX is a Y2K inspired variable display typeface that takes from early 2000's futurism, pop, and cartoon aesthetics. Due to its heavy weight and alternates it offers, it's perfect for a variety of logos, 3D, and motion graphics. SPMX was designed specifically for those use cases, and its wide range of styles and alternates gives you lots of freedom for creating unique graphics that still capture the same fun, futuristic, and playful early 2000's aesthetic. Features & What's Included: Variable font file that allows you to choose any slant degree from Regular to Full Tilt. OTF font files in 4 styles or slants, from Regular to Full Tilt. This is included because many young, talented designers around the world don't have access to programs that can take advantage of a variable font. I want them to have the option of using properly slanted and kerned oblique instances of Super Puff. Robust OpenType features including a vast pool of alternates and stylistic sets giving you lots of choices when choosing letters, numbers, and punctuation. Two stylistic sets for letters and numbers One stylistic set for punctuation and symbols One stylistic set that replaces punctuation with Y2K style icons Extensive Latin language support covering almost all of Europe and South America. All multilingual glyphs have access to alternates as well. Super Puff MX was designed and developed by Abe Zeinali/Xuveki.

Black Wizard is a bold and funky sans-serif font that is perfect for adding a touch of playfulness to your designs. With its wobbly and uneven letters, Black Wizard exudes a playful and cartoonish quality that is sure to make your project stand out. This font is ideal for Halloween-themed designs, as its bold and scary appearance can add an extra element of spookiness to your work. But it's not all frights and scares - the funny and lighthearted nature of Black Wizard also bring a touch of humor. Black Wizard comes in four styles: Regular, Italic, Straight, and Straight Italic, giving you plenty of options to choose from for your design needs. Additionally, a Symbols font is included with various Halloween-themed symbols that can be added to your text to enhance the spooky vibe. Use the character ¤ anywhere in a word to make a Halloween symbol. Example: Scare¤Crow. To add different symbols like ghosts and bats, use multiple ¤ characters. Example: Dark¤¤¤Night. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Macaroni Sans evolved from our search for an extended font family consisting of a range of weights in both uprights and obliques, with a contemporary appeal. The desired character was to be sympathetic with a range of high-tech consumer products so a friendly, soft approach was called for. The resulting mix of geometric shape, rounded terminals, subtle italic angle of just six degrees and a few quirky stroke endings met with an enthusiastic response. As its subject product line exhibits brilliant color and imagery, a style was called for that conveyed contemporary appeal and readability but would not compete with the savvy products. We arrived at a clean, modern, sociable look that would suit a broad subject field in either text, semi display or signage. Its simple lines and monoline strokes fit well with logo usage or screaming posters, enhancing letterheads or websites, for foodstuffs to autos, insurance to swimming pools, lawfirms to babyfood. Macaroni Sans is the perfect typeface for branding, logotypes, may even flatter challenging viewing conditions. Rounded types have been around (pardon the pun) for centuries; numerous examples can be seen on old wood type posters, which in a small way prompted the name: in fashion Macaroni was a term used in mid-eighteenth century Europe to describe a dandy, a chap who displayed flamboyance in dress and hairstyle and spoke outlandishly or in an effeminate manner. Hence the term macaronic verse.

Delagio Script is a calligraphic font that combines cursive elegance with a funky, innovative edge. This retro-inspired font is both creative and heavy, making it perfect for designs that require a unique and playful touch. Delagio Script is ideal for projects that seek to convey a sense of fun, humor, and originality. The creation of Delagio Script traces back to a lucky discovery of a vintage magicians' promotional posters. The unique blend of whimsy and elegance in Delagio's lettering were captivating enough to form the base of a typeface that embodied the distinctive charm of entertaining calligraphy strokes. Thus, Delagio Script was born, encapsulating the spirit of serendipity and the magic of a forgotten world. Use underscores _ to make swashes under words. Example: Magician_ The Delagio Script font family features four styles that cater to a wide range of design needs: Thin, Regular, Bold, and their respective Italics. These distinct options allow you to create eye-catching compositions that capture the essence of innovation while remaining rooted in vintage aesthetics. Equipped with advanced OpenType functionality, Delagio Script ensures top-notch quality and provides you with full control and customizability. The font includes stylistic alternates, ligatures, and other features to make your designs truly unique and engaging. Offering extensive lingual support, Delagio Script covers all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia, and includes all the characters and symbols required for your creative projects, such as punctuation and numbers.

Frescito is a modern sans-serif typeface that embodies a fresh, cool, and street-smart aesthetic. Designed to be both balanced and versatile, its clear and legible monoline style is designed for branding and advertising in editorial and digital design. Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about Variable Fonts: https://mansgreback.com/variable-fonts Inspired by the energetic spirit of the city and its vibration, Mans Greback set out to create a typeface that would stand out against vivid moment; a type that would work in a traditional café just as well as for contemporary merchandise. The result is a font that combines the best of both worlds: an air of freshness and modernity with an unpretentious, timeless and classy appeal. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Presenting Dena Font, a forward-thinking typeface that straddles the boundaries of future aesthetics and modern design. Designed for the cutting edge designer, Dena Font is more than simply a letterform—it's a design language, a representation of sophisticated elegance influenced by cyberculture, sci-fi movies, and innovative video games. Dena Font is a tool that gives designers the ability to push the frontiers of creativity and reshape the visual world. Elevate your projects with Dena Font's futuristic appeal, which combines typography with creativity. Every letterform in Dena Font has a vibrant, futuristic feel to it. The deftly drawn characters blend together to create a visual rhythm that mirrors the quick-paced, constantly-changing nature of contemporary design. Modern Futuristic style: With futuristic style, Dena Font is at the vanguard of modern design. It is the perfect option for forward-thinking design projects because every curve and shape is painstakingly created to communicate a sense of innovation and advancement. Ligature-Enhanced Creativity: Dena Font's rich ligature set enables designers to smoothly combine characters to create a flowing and melodic typographic expression. These artistically elegant ligatures provide a touch of refinement to your designs and are ideal for creating distinctive logo types and brand identities. Overcoming linguistic obstacles, Dena Font provides extensive assistance for the Latin Western Europe character set. This makes your creative vision a flexible instrument for international design projects by guaranteeing successful communication across linguistic environments.