Hamptons BF is a beautiful, elegant sans serif with dramatic individuality. A font that steps out in Art Deco style. As a design movement Art Deco came into prominence during the 1920s and 30s when forms were typically sleek, symmetrical, geometric or highly stylized. Today the influence of this enduring style can be clearly seen in architecture, industrial design, fashion, art, graphic design, and yes, even type design. Art Deco style exemplifies luxury, glamour and modernity. I believe Hamptons BF captures something of that retro look in a nod to the past without ever looking dated, all the while retaining a contemporary flair. Named after the well-known New York resorts synonymous with style and elegance, this gothic or sans serif type is based upon University Roman, an early 1970s serif design which in turn was influenced by yet another serif design called Forum Flair (late 1960s); and that in turn owes its pedigree to the late 1930s’ Stunt Roman, which is the original source of inspiration for all of these. Quite a family tree! There’s dynamic interplay between certain wide, full-round letters such as C, D, G, O, P, Q, R, S and narrow ones like A, E, F, H, K, L, M, N, U, etc. This contrast repeats throughout certain lower case letters and serves to create a unique look of distinction. Light and Regular weights communicate a romantic, feminine appeal while the Bold offers a complementary emphasis. The font is somewhat versatile as in addition to its primary purpose for display, Hamptons BF also succeeds in settings containing short blocks of large text. It’s right at home in a variety of typographic environments: branding, packaging, signage logos, magazine headlines, invitations, menus, trendy cafes and more. Among the included OpenType features are Stylistic Alternates, Automatic Ligatures and Fractions. There is extended language support for Western, Central and Eastern Europe and Turkish.

Storehouse Font is an old fashioned typeface with a modern touch. Inspired by tradition, hardworking brewers and 1800s it come up with 10 strong, confident and powerful styles, included: Regular, Italic, Thin, Black, Outline, Shadow, Used, Wide, Soft and Stencil. The font looks great when put on signs, shirts or labels of the bottles. Also, it works perfect as font for a branding and commercial uses. What is included: Shapes: 1.Storehouse Shapes EPS – EPS file 2.Storehouse Shapes PDF – PDF file Fonts: Storehouse Regular - OpenType font file - Regular old fashioned typeface with a modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Thin - OpenType font file - Thin version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Wide - OpenType font file – Wide version, big spaces. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Black - OpenType font file - Extra, extra bold version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Outline - OpenType font file – Outline version of regular version, amazing in matching with regular version as a back shadow. full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Shadow - OpenType font file – Old fashioned shadow of regular version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Italic - OpenType font file – Regular version with smooth edges. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Soft - OpenType font file - full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Stencil - OpenType font file – Stencil font with amazing old fashioned modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Used- OpenType font file – Softer edges, smooth lines. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Multilanguage Support: English, Albanian, Danish, Dutch, Estonian, Croatian, Bosnian, Slovenian, Finnish, French, German, Icelandic, Italian, Norwegian, Portugese, Spanish, Swedish with a lot of other languages; see Full Character List. Note: To access the extra alternate letters, you will need to use the glyphs panel. Many design programs offer this ability, including Adobe Photoshop CC 2015 , Adobe Illustrator, Adobe Indesign. Works with Cricut, Silhouette, PicMonkey, Photoshop, Illustrator and many more applications!

Thanks for checking out Winter Glows! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & loops, Winter Glows is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and whatever your imagination holds. What's really awesome is that Winter Glows comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text. Winter Glows Family includes 5 font files; Winter Glows • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Winter Glows Alt 1 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Winter Glows Alt 2 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Winter Glows Alt 3 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Winter Glows Extras • A set of hand-drawn swashes & doodles, the perfect finishing touch to underline your Winter Glows text & doodles for perfect lettering logos. Simply install this as a separate font, select it from your font menu and type any A-Z, a-z & 0-9 character to create a swash & Doodles. Standard Ligatures • Are also available for several lowercase characters (double-letters which flow more naturally). Ligatures will automatically replace the standard letter pairs whenever available, when using any OpenType capable software.

The original Gelato Script has been updated and improved, not once, but twice. This version is kept here for legacy and compatibility issues, but I would encourage new users to check out Gelato Luxe or Gelato Fresco instead. Gelato Script is a smooth-flowing typeface with an air of familiarity. Influenced by both formal scripts and mid-Twentieth Century hand lettering. The power of OpenType is used with precision in the Contextual Alternate feature to make sure letters connect seamlessly, t’s cross where they can and swashes don't crash into neighboring glyphs. 781 glyphs make up this font, which is capable of speaking in many different languages. Alternate forms are grouped into stylistic sets to make it easy to change the mood of the text. For example, ss01 makes droopable letters drop below the baseline to break it up a little if required. I recommend using it sparingly, one glyph at a time, but if you do enable it for a whole chunk of text, the clever OpenType programming ensures that it doesn't go overboard. Sets 2, 3 and 4 bring about alternate forms of S, s, B and Q. Set 5 changes AE and OE to some perhaps controversial Upper/lowercase ligatures. Engage ss06 for the underline feature. After a word, simply type two or more underscores and a line extends backwards under the word you just typed. Don't worry if you have to break for a descender, the OpenType programming will take care of making sure it connects properly to the preceding character. Sets 7 and 8 are for alternate ampersands, and ss09 swaps the script r for a regular shaped r. There are swash capitals available for most uppercase letters, and the OpenType programming makes sure there is room for them under or over the following letters. There’s also a good amount of ligatures thrown in. The localised forms feature can be set for Polish, where acutes get steeper and lslash takes on its script form; Dutch, where IJ and ij digraphs become cool ligatured combinations; and Romanian and Moldovan, where cedillas are subsituted for comma accents. The stylistic alternates feature groups together a few of the stylistic sets for users that can't get to them directly. Gelato Script is a highly usable, powerful typeface. Perfect for everything from food packaging to wedding invitations, sports team logos to magazine headings. Use it however you see fit. Just one thing - it’s not designed for all-caps settings, so avoid that at all costs!

Norwich Aldine ML is a all-cap typeface with enlarged serifs, designed and produced in wood by William Hamilton Page of Norwich, Connecticut in 1872. Norwich Aldine ML is a fine example of the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for a simple, visually strong typeface. Although about 14 miles inland, Norwich, Connecticut lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. Until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Norwich Aldine ML, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004) The family has expanded from one to four fonts: 1. Norwich Aldine ML: the concept font, computer-sharp corners and smooth curves, as we imagine it was designed. 336 Glyphs including some reduced-width alternatives for better letter spacing. 2. Norwich Aldine Worn ML: the way actual wooden type would look after have been used for a while. 332 Glyphs 3. Norwich Aldine Distressed ML: the way the wooden type would look after it had really been used, perhaps abused. Alternatives to the more popular letters reflect the damage that typically occurs on a well-wormn font, with nicks, cuts and scratches and the overall wear that reduces the overall height and leads to uneven inking due to varying heights in the chase. A couple of bullets look like bullet holes. 345 glyphs. 4. Norwich Aldine Cyrillic: Cyrillic includes alll English and Cyrillic letters for MS Windows Code Page 1251, ISO 8859-5 and MacOS Cyrillic. 235 glyphs. We did Cyrillic because is was fun and we felt the basic design cried out for Cyrillic. While obviously subjective, we hope you will agree.

Paneuropa 1931™ is a faithful recreation of XX-century Polish classic, made by Idzikowski foundry in Warsaw, 1931. Original Paneuropa was a renowned and highly popular typeface in XX-century Poland, and was widely used in all kinds of design, editorial use and printed materials for decades. Paneuropa is a geometric, clean and versatile font family inspired by Paul Renner's famous Futura - it is a bit narrower, with different proportions and details in drawing, completely different figures and punctuation shapes than Futura. It is an interesting and refreshing alternative to Futura with its own distinct personality and a subtle authentic vintage flavour. Paneuropa 1931 contains separate styles for display and large sizes as well as styles for small text sizes - differing in spacing and the softness of letterforms. The family features an original Paneuropa Double font - a beautiful inline style for headlines and display use. The whole family is completed with added missing inbetween styles as well as italics. The original subfamily set is available for purchase and it contains solely the original Paneuropa styles (Thin, Regular, Bold, Text Regular, Text Italic, Double). Paneuropa 1931 characteristics: letter shapes and proportions are very faithful to the original, keeping its idiosycrasies and inconsistencies spacing and kerning are carefully adjusted in order to achieve the colour of the original fonts, keeping maximum possible consistency - a compromise between authentic vintage feel and legible consistent text colour (for hardcore users: just turn off the kerning) weights precisely matching the original (Thin, Regular, Bold, Text Regular, Text Italic, Double), inbetween weights were added (Light, Demi Bold, as well as missing italic styles) italic angle faithful to the original (8 degrees) softened corners help achieving the character of old imprecise printed display styles for big sizes are sharper and have tight spacing, text styles have softer shapes (recreating small print imperfect print) and broader spacing for use in paragraph text (spacing in both display and text styles matches the original as well) original style names in Polish for devices with Polish set as their primary language The family is very versatile. The Inline style as well as bold and thin weights are perfect for headlines and display use, other styles works wonderfully as paragraph text. Paneuropa 1931 consists of 18 fonts - 5 display weights with corresponding italics + 3 text weights with corresponding italics + 2 inline styles (for big and small print sizes). It has extended support for latin languages, as well as broad number of OpenType features, such as case sensitive forms, fractions, superscript and subscript, ordinals, currencies and symbols.

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

Friendly is an homage to Morris Fuller Benton's adorable Announcement typeface. It is not a strict interpretation, digital revival or reverent reproduction of the original letterforms… but I would be remiss and shady to not acknowledge the letterforms that inspired this typeface. If you are looking for a more accurate 'scanned revival' I would recommend searching "Announcement" on MyFonts. As stated earlier, it is an homage to the original letterforms of the typeface but takes a great bit of freedom tightening the construction up in order to loosen up the movement of the variant letterforms to allow a great deal of usable personality. I enjoy stating this dichotomy… "loosen up to tighten up the forms" and vice versa. It seems counterintuitive or silly but by allowing the letterforms to normalize, I felt more comfortable going back and adding rather indulgent personality. Infused with stylistic alternates, swashes, titling, many many contextual alternates, 9 stylistic sets and 2 stylistic sets with wordmarks, the typeface became far more 'friendly' for me… how could it not? With so many loops, swashes and typographic indulgences, it was bound to be fun. The more elaborate and 'overdone' Friendly got, the more I wanted to slant it. Here's where my thinking differs from MFB's original. I like slanted romans… especially ones with long ascenders, but I do not like much of a slant. It has to be the lettering person in me. It's hard for me to do a completely upright serif and not pair it with an angle, but I did not feel Announcement's 'Italic' offered much and the actual slant needed to be far less. If it's not an italic, I prefer the letters to slant with an angle equivalent to the thickness of the vertical stroke. The Slanted version of Friendly is set at 3.6 degrees, is quite subtle, and very fitting for me. You will find that most characters have a contextual, stylistic, swash and titling alternate assigned to them and some have an echoed alternate to the swash and titling options if the stylistic alt has been selected in tandem. Additionally, all of these are accessible in the glyph palette directly from the base glyph typed or through selecting options through the Stylistic Sets 1–9. Stylistic Sets 10 & 11 are a little different. They are actually configured as complex majuscule ligatures… a result of me getting carried away. Other features like a default old style numeral set and coordinating glyphs have been produced along with case support, ordinals, and more have been added to make it more relevant for contemporary use.

Most uppercase letters of these constructivist fonts are made to look like cyrillic letters, so by carefully interspersing those you can set your text and headlines with it and make it look Russian! To a native Russian this of course looks very silly indeed, so to make amends for toying with their letters I have also included a full proper and genuine cyrillic character set. So these are the first CheapProFonts fonts to support languages using the cyrillic script in addition to the usual 65 latin-based languages. Check out Kremlin Pro for a version with different designs for these glyphs: ¡ ¿ 0 3 6 9 K k M m N n R r V v X x ? ! 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.

Libel Suit is a slim, efficient sans-serif typeface. This compact headliner has a unique industrial look with distinct post-modern curves. Using your application’s “stylistic alternates” functionality," you can access a more conventional “g” and “y.” OpenType numerical ordinals and fractions are included. Libel Suit is available in six weights and italics. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

As designers, we seek perfection and originality. The more we step back and look at our work, the more changes we tend to find necessary. Drastic modifications are inevitable. The same is true of Grayfel. Grayfel began as an exercise at insigne to explore the crowded space of neutral sans. While the world of sans serifs is admittedly crowded, I still managed to find something new and different. The final Grayfel consists of 42 full-featured OpenType fonts containing three widths: Regular, Condensed, and Extended. Every width consists of 14 fonts--seven weights with matching italics, making it a good companion for setting clear text and headlines for print and screen. OpenType features are also available. There’s figure choices, such as proportional and old style figures. Additionally, Greyfel includes sophisticated typographic attributes: ligatures, fractions, alternate characters, small caps, superscripts and subscripts. Its extended character set supports Central, Western and Eastern European languages. Optical compensations also mean the outcome of this family is a hybrid of humanistic proportions. It’s a well-finished design with optimized kerning gives it a friendly look. If you like sans serifs within the tradition of Futura, Helvetica, Avant Garde and Avenir, then you’ll love Greyfel, too. Grayfel works well in a variety of applications. Subtly neutral yet fun, it’s suitable for headlines of all sizes as well as for text. Put it to the task for marketing, packaging, editorial work, branding and even on-screen projects. Try it out: it’s not just fun and playful; it’s Grayfel.

This is the 200th font released by CheapProFonts, and again I wanted to make something special - so I have chosen to upgrade another well-known font by the infamous Fredrick "Apostrophe" Nader: Amerika! The whole character set for this stylish font has been polished for consistent baseline placement and serif thickness, and proper overshoots has been implemented. All the alternate letterforms (and some new ones) have been included as OpenType alternates AND they have now been made available with accents, too! The Greek and Cyrillic letterforms are properly encoded and kerned. I hope many will enjoy the improvements - and naturally: it is still free! 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.

East is a simple and confident typeface. It is timeless and current, but with a subtle nostalgia of vintage Jazz albums, film credits, newspapers, and signage. The light weight has excellent legibility at small sizes. The Extra Bold weight will capture attention. Its condensed width allows a lot of text in little space. East is versatile, but would be a good choice for film titles, labels + packages, posters, publications or any design where space is limited. It has six weights between Light and Extra Bold. A variable font with weight and slant axes is available and included in a full family purchase. The OpenType features include; stylistic sets, a one story ‘a’, hooked letters, seriffed uppercase I and 1, a slashed zero, raised colon and punctuation (Spanish), several German eszetts, ligatures, diverse bullets, and vertically stacked pre-built fractions. It will support western and central European languages as well as other Latin-based written languages. Read on if you are not familiar with variable fonts. What makes a variable font special is that all font weights are inside of one file and you can incrementally control the width and italic slant between Light (300) and ExtraBold (800). These changes are commonly made with slide controls in the font/type palette of the software. Variable fonts are also smaller in file size, which benefit both web and software performance. Currently variable fonts are supported by Adobe, Sketch, Corel Draw, and most web browsers. Check for your software support here: www.v-fonts.com/support.

Kari Display is the product of a long standing idea I had to give the well-received Positype typeface, Kari, plastic surgery. Just referring to giving a typeface plastic surgery, or letter lipo, stuck in the back of my head until I was able to pick the project up. The ultimate objective was to refine Kari Display to a point where each glyph was expressed as simple as possible... and in that simplicity a sexiness would appear. Kari is a beautiful script, but it is very 'controlled' and orderly and I wanted Kari Display to break that mold with much more movement, curviness, greater modulation and a more elegant feel on the page. I did not want to take it too far, limiting the use of the typeface, but rather opted for a delicate balance of thick and thin against the added movement of the glyphs. The wealth of sketches and proposed variants during the concepting phase was encouraging and I really pushed to add as many alternate characters, ligatures, swashes (and more) as I possibly could. Just about every character has at least one or more alternates AND the complete offering of alternates completely covers a wide range of Latin-based language groups including Central European diacritics. If you are using any type of OpenType enabled application, then the Kari Display Pro typefaces are the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional swash and ligature sets.

CA Capoli is a fine script typeface with a vintage touch. Perfect for illustrative titles or logotypes. It comes in two styles, Regular and Stroke. The inspiration came during our trip to Italy, where we took a short rest in a bar during a hot day. We discovered a simple ceramic ashtray on the table. The word “Nido” was inscribed in a typeface that looked like it dated back to the 1950s. We made some investigations about the word, its meaning and origin but it still remains a big mystery. Was it the name of a hotel or a restaurant or some vintage Italian cigarettes? We don’t know. We were so amazed about the design of the logo that we decided to create a typeface out of it. A sophisticated endeavor because we just had four letters. How could the rest of the letters – if it ever existed – have looked like? Our hypothesis is CA Capoli. A typeface with a full Central European character set and some nice alternative letters to chose from. When we thought about “Nido” and its possible derivation of hotel business, we felt like creating a small side project for this typeface, a brand for a fictional hotel called Hotel Capoli with business cards, letterheads, a reception book, key fobs and embroidered patches for the service dress of the hotel service stuff. The Hotel Capoli is located at the wonderful beach of Cape Arcona on the fictional country of Arcona Islands where our type foundry is located.

‘Technical Scripture’ 2015-2021 A manuscript look, Pixel labyrinthine Display Type System… Plus, an Optical “Layered Game”, Retro Futuristic Sci-Fi Digital interface evolving placeholder… Now with 3D Styles! It was designed as a pair to its brother font ‘Technical Signature’ a Small Caps Font, both inspired by antique Greek, mosaics zig-zag ornaments “ancient times computer” intentionally as a Romanic variation with same metrics... Searching for Technical Solutions, it resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better style linking with correspondent renamed fonts, addition of automatic OT features encoding, 3D Styles and Italics. Ps. This actual Typeface was quickly re-edited for technical reasons and hasn’t yet reached the intended design, it will soon receive a more tangible redesign upgrade, mainly in lowercases to enhance cursive style. Due to other priorities. Tip: Give preference to THE LYSERGIC UPPERCASES! Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is pleasant to Technician Compositions, Such as Briefs layouts manuscript, Old Engineering & Crafts Logos or Support Text, Op-Art Posters, Stamps, Labels, movies and Cartoons Ludic Scripts, sites and of course Video Games! Try ‘Technical Scripture’ & Have some Power to the Pixel! Padang!

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

Michaelangelo. da Vinci. Bellini. Rafael. Masters of Italian art whose names have dwarfed those of many other great Italian artists. Yet relics from these other artists remain, though often unnoticed because of their practical nature. These unknowns are the Italian Masters of vernacular sign painting, and insigne now gives a nod to their work with its new sans serif, Gineso. Based on its inspiration, Gineso was created for posters, headlines and logotypes. (It does well in apps, too, though the sign painters probably weren’t thinking about that at the time.) Aesthetically remedied, yet still with an uncut charm, Gineso’s condensed qualities make it especially nice for signs and titling where horizontal space is at a premium. The tight, narrow forms of its geometric design leave you with a robust flavor that will remind you of mamma’s spaghetti. But don’t worry; the font’s ample counters ensure your audience won’t be reading through a bowl of pasta. These condensed forms look great on their own or when their seven different weights and matching italics are utilized together. With the included OpenType features, fractions and superior/inferior positions are also available to broaden your palette. Even more, this font is ready for complex, professional typography with OpenType features like alternate letters and a large character set including Central and Eastern European Languages. So when you find yourself (or your project) in a tight space, stir in Gineso to get the right taste for your copy. It may just make all the difference.

I loved this monster font the second I saw it - it reminded me of Franquins Idées Noires... Reworking it and adding the missing glyphs and diacritics was quite time-consuming - but a lot of fun! Lots of details. The Lupineless variant is Lupine with eyes, decorations and stray hairs removed - which leaves just a very usable fuzzy font for your monster-related headline. Kevin King says: "I love fantasy writing and my favorite author is Terry Pratchett. In Reaper man, my favorite book, there is a werewolf character called Lupine, I wanted to make a font for him and for Ludmilla... It's a long story, it's a hairy font." 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.