Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity.

Space Rocks! A Retro Sci-Fi Font Inspired by 1950s Television Serials “Oh boy, oh boy, oh boy! The next episode of Space Rocks is on tonight! What’s it about? Well, it’s all to do with this family of astronauts who crash land on Mars and how they survive all sorts of alien creatures and killer storms! The science is really real too! Who needs school!!!” And so goes the story of one young fan whose imagination is captured by the latest offering in a golden-age of TV science-fiction. A brand of 1950s programming that offered a light-hearted and optimistic view of the future full of exploration, discovery and hazardous adventure! Sometimes even a cautionary tale to live on in your nightmares! With Space Rocks I want to capture this vibe with an all-caps design inspired the opening titles of these shows, fully hand-drawn with a range of discretionary ligatures that add a comic (not atomic!) touch. The package includes Regular and Outlined (all hand-drawn) versions with a complete set of alternatives to help maintain the analogue look. This font also includes unique uppercase and lowercase characters, along with numerals, punctuation, language support, underlines and symbols. It’s perfect for movie and television titles, album covers, posters or any design that needs a dramatic, spacey and fun look. Check out the visuals to see it in action.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

Based on Element by Max Bittrof, Stamm takes the next step in adaptation to modern environment. Using it's own construction logic it makes the design far more consistent and considerably expands the character set, supporting hundreds of languages, including Vietnamese and extended Cyrillic. Generous amount of OpenType features allows various localization options, automatic fractions, super- and subscripts, oldstyle and tabular figures, small caps and ligatures to suit almost every need. There are 15 Stylistic Sets available to customize the font (some of them duplicate locl-features in case they're not supported by applications): ss01 (Traditional glyphs): changes modern shapes used by default to old-style forms; ss02 (Alternate historical glyphs): changes the shape of several characters to a more obscure historical form; ss03 (Catalan middle dot): replaces middle dot between two l's by Catalan variant for better spacing; ss04 (German ligatures): activates historical ch, ck and tz ligatures used in German blackletter typesetting; ss05 (Dutch IJ-acute): replaces j after i-acute with j-acute; ss06 (Marshallese cedilla): replaces commas under certain letters with cedillas; ss07 (Romanian/Moldovan comma): changes cedilla-glyphs to comma-glyphs; ss08 (Turkish i): replaces regular i with dotted Turkish variant; ss09 (Cyrillic alternates): changes several Cyrillic glyphs to alternate variants; ss10 (Bulgarian Cyrillic): activates Bulgarian shapes; ss11 (Serbo-Macedonian Cyrillic): activates Serbo-Macedonian shapes; ss12 (Double-story a): replaces default glyph with it's double-story variant; ss13 (Alternate asterisk): replaces default asterisk with 5-pointed shape; ss14 (Enclosed figures): replaces standard figures with enclosed variants; ss15 (Slashed zero): replaces default zero with slashed variant.

Cities often have their own voice, a voice that can be read... in each location and each business, voice portraying a cultural fabric with an array of manifestations. Balneario Script is a small tribute to a coastal port and tourist city. Through the Sign Painters, in its golden age, a clear, friendly, practical, and functional way of making itself heard evolved. Far from wanting to be perfect, a typeface seeks to be close, warm, and casual. Inspired by the gestures of the brush, Balneario Script reverts to the use of “Casual Letters” so used by Sign Painters. In this adaptation, we sought to adjust its morphology to optimize its performance in small formats and extend the system to include lower case letters as part of the set. The set of fonts has two script weights in addition to an all caps version. The design emphasizes creating a harmonious morphological criterion. Friendly, rhythmic, and with a firm stroke Balneario Script is unique, ideal for headlines and short texts that need to be gestural but simple and highly functional. This typeface was designed to be used in promotional posters or for relaxed and fun Packagings. Balneario Script goes beyond constructive or functional aspects. It seeks to capture the smell of the sea, the warm summer breeze and the nostalgic feeling of a city that from its daily life, knew how to forge a unique personality. This atmosphere allows it to host millions of tourists year after year, and with them reinforce their spirit each summer.

A ”modern“ Gothic – designed according to principles of modern form in three variations Faber Gotik is a reminiscence of Gutenberg’s first script from around 1450. The heavily broken forms allow further development in the direction of a modern, strongly geometric and less formal type. It should be possible to push the principle of design so far to the limit that a type is created which, from the very start, extinguishes reminders of a dark past. The characters are composed of squares which are lined up straight or in a more or less slanted manner. The resulting corners similar to serifs were removed so that a sans serif type in the true sense without up and down strokes was created. The principle of ”breaking“ was applied according to the historical model. Even the form of the characters is based on the model from the Middle Ages. Only the characters which cannot be created with the principle described were modeled on today's forms. Faber Gotik includes three variations: - Faber Gotik Text — most similar to the historical model - Faber Gotik Gothic — pushes the applied principle of form the furthest - Faber Gotik Capitals —; a Gothic upper case font, contrary to tradition. 555 years after Gutenberg, interest in black-letter typefaces is nearly extinct. They are especially looked down upon in German-speaking countries because they are still associated with ”Nazi“ scripts. But yet, the very forms of blackletter, Gothic, Schwabacher and especially cursive have enormous potential with regard to the development of new advanced font forms.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino, Fino, and Fino Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino perform a range of roles far broader than your typical Bodoni or Didot.

Castile is a central region of Spain that formed the core of the Kingdom of Castile, under which Spain was united in the 15th and 16th centuries. "Castile" is a Kufic modern Arabic typeface. It is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It is very distinctive when used in black and white printout. It decorates colored pages and makes artworks more attractive. This font comes in three different weights. I adore Spain and the historical achievements of the Islamic civilization existed there in the past. By designing "Castile" Typeface, I wanted to refer to the Islamic civilization that Muslims had in Spain and especially in Andalusia. Today the name of Castile survives in two autonomous regions of Spain: Castile-La Mancha (capital city is Toledo) and Castile-Leon (capital city is Valladolid). The main characteristic of "Castile" Typeface is in its modern open-end style for some of its Arabic characters such as "Sad", "Dad", "Seen", "Sheen", "Qaf", "Faa", "Yaa" and others. The shape of the characters' "dot", "dots", and "point" is innovative; a triangle with a semi-circle shape. "Castile" Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its charactersí modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitionsí signboards and external or internal walls of malls or metroís exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

Marit Otto about C-Nation: The building typeface. Although the 70ties were very liberating and progressive, still girls played mainly with dolls and sweet things and boys with all kinds of challenging stuff. They did all sorts of basic scientific experiments in mini labs and of course built cool things with Meccano building sets. As a girl I was perfectly happy with the toys I had access to. But at the same time I was very curious about all the adventure toys and discoveries my brother did. It also made me wonder why the grown up people thought that our world could be separated so easily by separating our toys in pink and blue sections. At this day of age Meccano is probably hopelessly old fashioned and far to manual. Children of today are fed by fast images and cool animations on screen, they learn, play, communicate and relax in the same space, the digital space. The special feature of Meccano was that even though it was very basic there was the promise you could create anything. It might even contribute to a logical mind. The typeface I designed refers to the Meccano feel. It is a creative typeface. A bit masculine and bold looking perhaps but after the first impression a subtle and refined female touch is revealed. It has links to architecture and associations with metal constructions like ‘The Eiffel Tower’ and (old railway) bridges. I am convinced that we all think of that as very charming man-made objects.

ITC Astro is the typeface that proves you can get your work done while watching cartoons. “It all started as a series of doodles while I was watching The Jetsons,” recalls Sasa Petricic. “The show's impossibly simplistic vision of the twenty-first century cried out for a font that fit into that world -- a world where everyday objects can carry far more fun and personality than they should.” ITC Astro is the first commercial typeface design from Petricic, whose “day job” is working as a reporter for the Canadian Broadcasting Corporation. Petricic has filed stories from across Canada and around the world for CBC's flagship evening newscast, The National. His reports have also appeared on CNN and BBC Television. Petricic's work as a correspondent and video journalist have taken him to six continents, covering everything from famine and genocide in Africa to the war in Iraq. With such serious matters filling the hours of Petricic's day as a journalist, it's not hard to see why he conceived Astro as a welcome blast of whimsy. “As I began to draw the design,” he says, “I decided that every part of Astro should be a cartoon character unto itself.” Each character has its own baseline shadow (or coaster, or circular antigravity generator, depending on how you look at things). The angular caps dance jauntily, rocking from left to right, while a suite of companion small caps provide backup. The end result is a design quite unlike any other, with surprising charm and versatility. ITC Astro comes in a two-weight family of White and Black.

Banished was inspired by posters for the 1968 Cult Cinema Classic, “Astro Zombies”, but it exudes the rough and tumble, chewed up and spit out Old West era. Banished dives head first into all of the nostalgic clichés of the old west, as well as the cult classic that inspired it. Here's what's included with Banished: 388 glyphs - including Capitals, Lowercase (Alt. Capitals), Numerals, Alt. Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) Contextual Alternates that auto-switches between Capitals & Lowercase (Alt Capitals) glyphs, as well as Numerals and Alt Numerals for visual randomness. To access the Contextual Alternates feature, you will need to be using software with Opentype compatibility otherwise you can access the alternate glyphs via a Glyphs panel. Stylistic Alternates feature that swaps all default Numerals with their Alternates Numerals Font is provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why Banished is for you: You're in need of a good rustic slab serif typestyle with a narrow width and gritty feel You're planning a Western themed party and need a unique western typeface You're a fan of the 1968 Cult Classic "Astro Zombies" as just have to have the font to match You've got one of those Old West photography studios and need a great Wanted poster font You just like to collect quality fonts to add to your design arsenal

I saw a cool UT-Ligature on an old (maybe 70's or 80's) Texas Longhorns fan-shirt - it was in 3D and I wanted something like that with my own initials A and B to print it on a baseball hat. I started drawing it and when I was finished, I thought it might be nice to do the same for my officemates. I needed another G, T and K. After finishing that I thought it might be cool to do this for other people as well. Since the source of all the 3D glyphs is found in the regular ones which get moved by a 45 degree angle and then connected with lines , I first draw all the uppercase regular glyphs. The thing that followed was kind of an addiction: after finishing the uppercase letters, I wanted to add lowercase letters, after finishing the 3D letters, I thought it would be nice to have a fill version to layer with the 3D letters. Having a rough, woodcut version of the regular style would be cool, too. And the font is also pretty much suited to make a stencil version. When all this was done, I was interested on how the font would look like without the serifs and curves instead of the 45 degree angles, so I did the Longhorn Sans. Good to use for all sports-related designs, especially retro-style soccer/football shirts. Uppercase characters can be combined to form ligatures or logotypes.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

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.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Sans is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Sans, Fino Sans, and Fino Sans Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Sans to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Sans family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino Sans perform a range of roles far broader than your typical Bodoni or Didot.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Stencil is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Stencil, Fino Stencil, and Fino Stencil Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Stencil to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Stencil family, along with our entire catalogue, has been optimized for today’s varied screen uses. All these talents let Fino Stencil perform a range of roles far broader than your typical Bodoni or Didot.

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

Busted is the very strange and out-of-character outburst of Bill Troop, a guy who was classically trained in everything, from classical piano and literature to classical photography and type design. As far as we could tell, Bill Troop is the kind of guy whose appearance and voice instantly trigger thoughts of black and white photos, fedoras, and pre-industrial age Europe. A few years ago, he even moved from the United States to England, where it took him less than a week to feel at home and start sounding like a Norwich native. Then something happened and the poor dude just snapped. Busted is the controversial result of the blood rushing to his head. If you know what exactly happened to him, please let us know. Concern, consideration and human interest story aside, Busted is a fascinating thing. It is a set of four interchangeable thick outline fonts where the same letter forms turn from wild to wilder to broken to somewhat clean. Mix them up in a setting and you have words that snarl with a sneer. Life's too short. Take it all with a grain of salt. Scream whenever you feel like it. Busted Pro is a single font combining all four character sets, and rigged with an OpenType pseudo-randomizer in the contextual alternates feature, which you can disable or enable anywhere in your setting for maximum visual shock just the way you like it. Works just as well in PAL or SECAM. Don't be fooled by imitations, and don't get caught with your drawers down.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S™ , which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype’s Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Script is a complementary typeface to ITC Ellipse Neo, designed a very legible handwriting style. ITC Ellipse Script is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Script offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: Nov 1, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. ITC Ellipse Script est une police complémentaire à ITC Ellipse Neo, conçue dans un style d'écriture très lisible. ITC Ellipse Script est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Script offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojtěch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author’s creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also Růžička’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

Gradl Highstep is an archetypical Art Nouveau face by the prolific and mysterious Max Joseph Gradl. It epitomizes the visual language of elegance and sophistication. It seems strange that so little information is available today about Max Gradl: He seems to have been well known in his day. In addition to his jewelry design, he did advertising work for customers in Naples, London and New York in addition to customers in cities all over Germany. Gradl Highstep is an all-cap font with a wide range of ligatures: 094=SA, 123=CH, 125=CK, 126=TS, 167=FA, 172=PA, 177=TA, 188=WA and 190=YA. In addtion, 137=Gradl’s dated monogram “MJG 1903,” 175=LLC abbreviation, 181=alternate S. This is a subtle font with thin, variable strokes. It is best used at 28 points and larger to give it the presence it needs to be be appreciated. Gradl Highstep Initials is a companion font, incorporating a deft line drawing of a fashionable woman of the period who is every bit as elegant as the underlying font.

Debacle is a super bold contrastive display face built upon pure geometric shapes. Sharp, angular lines are countered against obtuse rounded forms creating a striking visual discord. Select inner corners are rounded, giving characters dual attributes, while linear round-end counters simultaneously contrast and compliment the square-ended punctuation and symbols. Stylistically, Debacle’s prominent letterforms effortlessly create type-as-image text settings. Its style relates to the lush display typefaces from the seventies, yet is highly contemporary in its refinement and finish. Features include: Precision kerning Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ffi, ffl, ff, fh, fj, ft, tt, th, ct, st, la, aj, fa, ls, es, ev, ew, tz, lv, lw, ti, it, ea, kv, ka, ky, yx, xy, yy, km, yw, wy, yv, vy, kw) Alternate characters (O, Q, _, $, ®, •) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Grenale Slab adds to the new standard of elegance within the Grenale family. Not your typical slab, Grenale has some unique forms that give it a look all its own. This glamourous slab still draws much inspiration from Grenale’s Didone sans and its haute couture influence. Independently attractive, it’s balanced and poised, with well formed strokes. Grenale Slab’s thin weights are simple but vibrant--elegant forms that naturally lend themselves to designer journals and high-end branding along with upscale applications. With added energy and power, the thicker weights give your work a firmer, statlier look. Grenale Slab’s upright versions are also matched by optically adjusted italics. The fashionable typeface includes a multitude of alternates that may be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously refined details with ball terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. Any of Slab’s weights also provide a well-matched companion to its original counterparts, Grenale #2 and the original Grenale. It’s time to think high-class. Graceful and assured, the carefully crafted forms of Grenale Slab step pleasantly onto each page with elegant charm. Include its range of alternate glyphs, and this chic font is a superb choice for bringing a far more refined look to your copy.

Grenale #2 shapes the new standard of elegance within the Grenale family. Not your typical sans, this pure, geometric structure with its glamorous sensitivity draws much inspiration still from Grenale's didone sans and the haute couture influence. Independently attractive, though, the form abandons the original's high contrast for its own minimal stroke variation, achieving proper balance through its graceful strokes. Grenale's thin weights are simple but vibrant--elegant forms that naturally lend themselves to designer journals and high-end branding along with upscale applications. With added energy and power, the thicker weights give your work a firmer, statlier look. Grenale #2's upright versions are also matched by optically adjusted italics. While unique in appearance, any of #2's weight also provide a well-matched companion to its original counterpart. The fashionable typeface includes a multitude of alternates that may be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously refined details with ball terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. It's time to think high-class. Graceful and assured, the carefully crafted forms of Grenale #2 step pleasantly onto each page with elegant charm. Include its range of alternate glyphs, and this chic font is a superb choice for bringing a far more refined look to your projects.

Besley Clarendon ML is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon ML represents a significant change from the slab-serif Antiques & Egyptians that had become so popular in the prior three decades. Like Caslon’s Ionic of 1844, it brackets the serifs and strongly differentiates between the thick and thin strokes. Besley Clarendon is also what today is considered a condensed face, as a comparison to the various contemporary Clarendons will show. Robert Besley’s Clarendon was so popular that many foundries quickly copied it, a fact that caused him to complain vigorously. The reason it was so widely copied is simple ó it was extremely useful. It provided the attention-getting boldness to highlight a word or phrase, yet at the same time was compact and easier to read than the fat faces and antiques of the period. It wasn't until sixty years later that the concept of a typeface family of different weights was developed with DeVinne and Cheltenham. Until then, Clarendon served as everyone’s all-purpose bold face. It can be used for ads, flyers, headers or even short text. Don't leave home without it. Besley Clarendon ML includes the following features: 1. Glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 353 glyphs. 158 kerning pairs. 2. OpenType GSUB layout features: pnum, salt, liga, dlig, hist and ornm. 3. Inclusion of tabular (std) and proportional (opt) numbers. 4. Kreska-accented letters.

The beauty of a classic is that it never really goes out of style. The pure, simple elements which define its greatness only strengthen and solidify with time and exposure--elements like those that inspired Ranelte, the new sans serif from insigne design. While it pays homage to the enduring DIN series of the early-20th century, the new Ranelte is far from outdated. The classic style happily connects with its more modern side, incorporating a more pronounced curve than many of its contemporaries do. This accentuated curve helps pad the type against being cold or overly technical, especially with its inherent semi-modular form and geographic feel. In short, you end up with a good vibe at the intersection of high-tech and friendly. A versatile typeface, Ranelte is designed for headline use as well as print and web copy. Within this family’s three widths and eight weights (along with italics), the letter proportions remain easily readable through their tendency toward equalisation, while still avoiding strict monospacing. The typeface also features sophisticated typographical help in the form of OpenType features. Included in the set are case-sensitive types, fractions, super- and subscript characters, and stylistic alternates. It comes using a comprehensive array of old style and lining figures. All features comprehensively cover the Latin-based languages. Thinking about it again, a classic may never go out of style, but that doesn’t mean you can’t improve on it. A little adjustment can have a beauty all its own. So discover the tuning of Ranelte, and enjoy all the new things you can do with a classic.

I wanted to create a "handwriting" font which could be used professionally. I have often needed such a font with a variety of weights and styles for a particular project and have had to resort to mixing fonts, creating a rather messy, amateur job. Camy is named for a little village in South West France where I did much of the initial work on this font. Camy is ideal for contemporary display work, comes in ten styles, and has a contemporary appeal with its casual, easy to read letters. Camy was designed as a total professional package for designers looking for a handwritten font suitable for all kinds of contemporary display work: the idea being that once you have the Camy Professional Pack you don't have to waste time searching for other handwritten fonts. The Family: LIGHT -- NARROW - light weight, condensed width, delicate line -- MEDIUM - light weight, delicate line -- WIDE - light weight, expanded width, delicate line NORMAL WEIGHT -- NARROW - of medium weight and condensed width - perfect for limited space -- MEDIUM - of medium weight -- WIDE - of medium weight and expanded width BLACK - for best readability -- NARROW - condensed width for bolder statements in small areas without losing legibility -- MEDIUM - for bolder statements -- WIDE - expanded width for bolder statements FAT -- WIDE - for maximum impact Use a combination of styles for product branding, book covers, invitations, greeting cards. The Camy combination works well for both headings and body text. Camy contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Kevin King says: "When I started this font it was called Pestle... It didn't run - it didn't even walk. At some point I thought, Hmm! Looks a bit like Liquorice! And now... Voila! I remember being able to buy about a yard of Liquorice rolled round a central comfit - how fab! Tuppence worth of sticky afternoon! You could also buy bundles of Liquorice root - which looked like black twigs with bright yellow wood - they left my teeth full of black twiggy bits... The past is a strange Lady - Bless her! This was almost Kingthings Leechy... just another one of my bulbous shiny things - I have always liked letter-shapes with 'bottom', probably a 70's thing, as many a seventies thing did indeed possess it - including the fabulous Chaka Kahn... Oooh, Diva!" 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.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

A throwback design reminiscent of 1950s signage and print ads, Merrymakers JNL takes a previous release (Bluesman JNL) and places the letters and numbers inside parallelograms with ‘TV screen’ openings. Merrymakers JNL is available in both regular and oblique versions. The upper case A-Z characters have the taller side of the shape to the left, while the lower case a-z has the taller side to the right. To make a ‘fan fold’ or zig-zag message, simply alternate upper and lower cases as in this example: C-a-R D-e-A-l-E-r-S You can type spaces between words, but if you prefer blank connectors, use the following: Upper case solid black connector – left bracket key Lower case solid black connector – right bracket key Upper case ‘TV screen’ connector – left brace key Lower case ‘TV screen’ connector – right brace key There is a very limited set of punctuation available. The upper case ampersand, question mark, exclamation point, period, comma, single quote and double quote are all on their respective key positions, but to accommodate the lower case [smaller side] versions, those glyphs have been reassigned to other standard keyboard positions: Type @ to get & Type # to get ? Type $ to get ! Type ^ to get . Type * to get , Type - to get ’ Type = to get ” Additionally, to access the lower case [smaller side] versions of the numerals, type the following keys: Type % to get 0 Type ( to get 1 Type ) to get 2 Type + to get 3 Type / to get 4 Type : to get 5 Type ; to get 6 Type < to get 7 Type > to get 8 Type \ to get 9

The word Zawiya in Arabic language means Angle in English language. "Zawiya" is a Kufic modern square-shaped Arabic typeface. The typeface has only right-angled angles which makes it full of open and closed squares and free from any curves or arches. This font comes in two different weights. I am originally an engineer and I have liked to draw geometric shapes since my early childhood. I decided to design a typeface that embodies both of the technical and artistic human that I have inside me. The main characteristic of "Zawiya" Typeface is in its modern and attractive right-angled and square-shaped styles for its all-Arabic characters. The character "Faa" is one of its most distinguished characters that I myself adore it so much. "Zawiya" Typeface is suitable for books' covers, advertisement light boards, titles in magazines and newspapers, posters, greeting cards, cards, covers, satellite channels, exhibitions' signboards and external or internal walls of malls or metro's exits and entrances, geometric instruments and tools, technical devices, computers and laptops, IT and electric devices and also calculators. It is advisable to use the font in fields related to sciences such as geometry, mathematics, physics, chemistry, astronomy, industry, economy, and other fields. It can also decorate surfaces of calculators, geometric tools, rulers, pens, computers, cars, ships, trucks, and other related electric and electronic devices. It is sharp design qualifies it to be printed in public signs in streets, airports, hospitals, schools, malls, hotels, mosques, and other public places. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

Whassup y’all! Me and my bros got this li’l gang together: we is Ringo, and we got da bling, yo! We is da typeface family for ya all! We got some real sweet stuff for ya, some nice characters. We got all ’em OpenType features like fractions and proportional figgers, we even got da cubic root, man! And check out da question mark, man, is real sweet. And the ampersand, yeah! I luv ’em ampersands. Now my brothers over here got some light action for ya, and they got some real bold action for ya. We got some nice foxy curves goin’ on, some nice tension, and some nice relaxation. My bro Light over here is kind of like the subtle guy, ya know. He’s in for the female fans, ya know. Heh! Hell, yeah! And man, we speak like 84 languages: we speak the German, and the French, and the Spanish, and we speak the Polish, and the Czech, and the Hungarian, and we even speak Shambala and Swahili and Rundi, and we got some Esperanto thing as well for ya. And check out my bro Black right over here, he’s like the action superhero, man! He’s got impact, man! Yeah yeah, but you know, my bros Regular and Bold are the real deal. Them is like da word of da street, man! Like da word of you, and you. And we got a message for y’all: life is hard, life is real, but you should work your mojo, be smooth, be nice, chill. We got all them kerning pairs, and all them weights, and we got ’em alternate letters. So check us out, yo!

These fonts just ooze Christmas and holiday spirit from every curve of every letter! If Kingthings Willowless Pro is a Christmas font, well... then Kingthings Willow Pro is a Christmas tree complete with decorations and lights! This font is sooooo ornamented - but still quite readable. I have cleaned up all the outlines, redesigned the F (which looked more like a J), tweaked some more letters and then expanded the font with the usual multilingual glyphs. I loved this font when I first saw it, but was very nervous that it would be difficult to design the accents - but it was a breeze! It has been one of the most enjoyable fonts to rework so far. Hope you will enjoy it, too. 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.

This font has been described as "one of the cutest fonts I've ever seen. I can imagine a beautiful, young 22-year-old fashion design student from Los Angeles, CA with this handwriting as she's writing in her journal." I have cleaned it up a bit, increased the size of all the dots slightly and then designed all the diacritics and expanded the character set. The lowercase "f" has a big overhang and the lowercase "j" goes really far to the left - I have programmed automatic (OpenType) Contextual Alternate versions that automatically substitute with shorter variants when letters collide. These alternate letters can also be switched on using the OpenType palette's Stylistic Alternates or Stylistic set 01 ("j") and 02 ("f"). 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.

Remember clear summer days as a kid? Remember open fields that you explored? Sun shining? Simple breezes sweeping past your face as you ran far and free? The feeling was uncomplicated and enjoyable. It was natural. That’s Verao, the simple spirit of summer. Alive and vibrant, Verao takes a turn away from the cold structure of today’s rigid creations and embraces the movement back to the value of things handmade. This artisan creation represents the rare, soul-invested fusion of the craftsman’s tools, materials, and hand movements, which shapes the solid--but beautifully defined--parts, pieces that, when put together, breathe a measure of life into everyday paragraphs and other bodies of text. Verao’s hand-written brush script, with its characters’ imperfect elegance and handmade quality, keeps your work looking organic. Write a word in more than a hundred different ways thanks to the large number of extra letters it offers. Two sets of lowercase alternative letters without connectors are included as is a set of swashed endings. Verao contains stylistic substitutions and ligatures, too, that you can combine however you like. Whichever way you design, the elements continue to appear balanced and separate and will undoubtedly add more personality to your design. So stop switching out cogs in your rigid set of fonts. Take time again to play with a natural face that’s both easy and energetic. Verao’s great temperament makes it a joy to design with. Let this spirit of summer take you away from the mundane. There’s a good chance Verao will lead you where you need to go. Production assistance from Lucas Azevedo.

Follow us to the future. It is in your face. It is fashionable. It is friendly. It is fly, far-out, funkadelic, fun. But first of all, the future is fast and full. Named after the most famous Canadian rock group of all, Rush is a typeface that wants your full attention. It is square like a bodybuilder's jaw, round like a football player's muscles, and tight like an abdomen after a thousand sit-ups. It gives you plenty of attitude. It commands your respect and lets you know that if you've been thinking of giving up on macho in this brave new world, think again. It tells you that everything has an underlying engine, that every engine hums clockwise, that adrenaline is the name of the game, and if you don't like it, get your sensitive self back to your silly scripts. Rush comes in two fully interchangeable variations: Rush One and Rush Two. While Rush Two is the somewhat predictable, determined pedal-to-the-metal contemporary brute, Rush One is sharper, smarter and more sophisticated in the way it affects a design. While Rush Two's message is a straight-forward one of strength and speed belonging in an overall design, Rush One calls attention to itself first then turns on the wonder about everything surrounding it. Expertly mixing shapes from both fonts in the same word or line can achieve just that perfect form a design needs for its message. Such flexibility and distinction in character design and degree of message relay makes Rush the perfect font package for any design that has anything to do with speed, strength, and proud pursuit of adrenaline.