The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Spaclar is a captivating display font with a game-themed design, featuring uppercase letters with consistent proportions and rectangular shapes with sharp corners. This font shows uppercase letters with uniform proportions, ensuring a clean and balanced visual experience. Each character maintains the same size and shape, resulting in a cohesive and harmonious composition. This design choice creates a sense of order and precision, reflecting the strategic nature of gaming. The rectangular shapes with sharp corners in Spaclar add a modern and futuristic touch to the font. The clean lines and defined angles exude a sense of sleekness and sophistication, reminiscent of advanced technology and sci-fi aesthetics. This unique feature adds an element of visual intrigue, making this font the perfect choice for game-related designs that embrace a cutting-edge atmosphere. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Spaclar fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other game-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Hostrange is a captivating handwritten font that brings a touch of authenticity and personality to your designs. With its brush-style letterforms and varying brush stroke thicknesses, this typeface captures the essence of handcrafted charm. The special feature of this handwriting lies in its dynamic brush stroke variations, where each letter showcases a range of thicknesses. This adds a sense of organic movement and visual interest to the font, mimicking the natural variations found in hand-drawn brush calligraphy. The result is a font that feels alive and full of character. The brush strokes create a natural and flowing appearance, as if they were crafted by hand with a brush. The varying thicknesses add depth and dimension, enhancing the font's authenticity and handcrafted feel. The letterforms of Hostrange strike a balance between legibility and artistic expression. While each letter maintains its distinctive shape, the varying brush stroke thicknesses bring a sense of uniqueness to each character. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Hostrange fits in headlines, logos, posters, invitations, packaging, branding materials, or any project that calls for a handwritten aesthetic. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Your design project is your brand’s introduction to the public, so it is crucial to do it in the right way. An inappropriate font can totally change your messages and damage your work. For that reason, Karita is here to assist you with your needs. Karita is a classic, elegant, professional display serif font to increase the product and brand values promoted. This font looks more prominent than the others and shows strong, yet elegant impressions to attract customers. Continuity elements on every little scratch of the letters’ edges lead your eyes to follow one letter to another in line with serif font characters. Besides, this font type has thick lines and strong contrasts to attract customers and to show firm impressions. For a legibility reason, you can use this font for big text sizes. You can enjoy the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Karita fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

It’s spring and the Cherry Blossoms are in bloom… and so is the new typeface by Neil Summerour and Positype. Cherry Blossoms is the new relaxed script family in the same vein as Good Karma. Produced from hand and sumi brush of Neil Summerour, Cherry Blossoms is a natural brush textured font family. Cherry Blossoms is blooming with personality, reliable and genuine movements, and a wide range of letter options to befit any project needing an honest hand-lettered look. Each typeface comes with an expansive set of stylistic alternates (upper AND lowercase), that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter smart ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. To further expand the usefulnesss of this bright script, a separate Caps/Lowercase font has been added that provides the simple contrast needed to bring the script fonts forward. Rather than limit the personality of this script, various styles have been produced to compliment the original Regular… Wide and Tight as well as the afforementioned Simple’ fonts are included in hopes of helping you find the perfect variation needed for your composition. Cherry Blossoms is the second release of the Positype Relaxed Script Collection of typefaces—all focused on fluid, effortless script fonts for simple use.

Brasserie, the font, is a tribute to all brasseries since they are wonderful places to relax and enjoy food, wine and friends. It is also a salute to Parisian neon sign makers who continue in their difficult quest to adapt type, including script, into fragile, gas-filled, electric glass tubes. I tried to capture the spirit of these neon signs and combined it with the loosely styled handwritten menus written on blackboards that are usually placed outside Brasseries. You will find Brasserie to be very useful in many situations where you need clarity with style in a reasonably compact width. It is also creates an unusually even texture in sentences. Brasserie is a fairly upright script with a large x-height, which helps to save on overall width. Like a brasserie, the font is a relaxed and informal script, useful for logo, packaging, menus, editorial, advertising, invitations, etc and is available for Mac and PC in Opentype, Truetype and Postscript versions. In France, a brasserie is a café doubling as a restaurant with a relaxed setting, which serves single dishes and other meals. It can be expected to have professional service and printed menus (unlike a bistro which may have neither), but has more informal eating hours than a full-fledged restaurant. Typically, a brasserie is open every day of the week and the same menu is served all day. The word 'brasserie' is also French for brewery and, by extension, "the brewing business".

Introducing Bumbel - Bubble Typeface Bumbel is a captivating font that combines the essence of bubble dynamics with a modern and funky style. Its unique design exudes energy and playfulness, making it perfect for projects that require a fresh and vibrant look. This typeface features rounded letterforms with soft edges, giving it a friendly and approachable feel. The bubbly contours of each character create a sense of movement and liveliness, capturing attention and adding a touch of whimsy to any design. With its modern twist, Bumbel brings a contemporary edge to traditional bubble fonts. It embraces clean lines, sleek curves, and a balanced composition, making it versatile for a wide range of applications. Whether you're designing a logo, branding materials, advertising campaigns, or social media graphics, this font will add a dynamic and eye-catching element to your project. Bumbel have Outline Version allowing you to customize and experiment with different letter combinations. This versatility empowers you to create unique typographic compositions that truly reflect your creative vision. Embrace the spirit of modernity and funk with Bumbel. Elevate your designs, stand out from the crowd, and infuse them with a sense of joy and energy. Let this captivating typeface be the perfect tool to express your creativity and make a memorable impact. You will get : - Bumbel Regular - Bumbel Italic - Bumbel Outline - Bumbel Outline Italic - Multilingual Support Thanks, Have a wonderful Day Say Studio

Secret Ring is a captivating display font that will unravel the mysteries of the unknown in your designs. Designed in uppercase and bold, this typeface commands attention and exudes an aura of secrecy and horror. Each letter is meticulously crafted with details resembling plant roots with sharp edges, adding an eerie and enigmatic touch to the font. With its bold weight and uppercase design, Secret Ring creates a powerful and impactful presence. The root-like details in each letter of this font bring an organic and otherworldly appearance, as if the font draws its power from ancient and malevolent roots. These haunting details add an element of supernatural energy and create an atmosphere of foreboding and suspense. The combination of bold weight and sharp-edged root details gives this font a sinister and enigmatic look, evoking images of hidden rituals and occult symbols. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Secret Ring fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

I hope that you enjoy the "Linden" font. The basis for this new font is my Leaf font. As much as I love the Leaf font, however, I felt (and still feel) the desire to have a larger font, for three reasons: 1. I enjoy customizing my internet browser to show different fonts. The original "Leaf" font was a bit too small for that. The new "Linden" font is perfect for this function. 2. Some of the fonts that I use in writing e-mails look their best at sizes 24 or 36. That’s fine for me, but unless I want to go to the trouble each time of changing the size, then the recipients oft my e-mails get wolloped with an enormous-sized font. When I use "Linden" for my e-mails, it’s automatically a perfect size at 12 or 14, solving this problem. 3. I also enjoy customizing the font in which I read my e-mails. Unfortunately, there are only a few which are legible in the tiny size in which this is configured. Again, "Linden" is configured to be large enough automatically so that it can easily be read by anyone. I am pleased to offer a pleasant font for use in any or all of the scenarios; I love fun solutions and hope that you will enjoy the "Linden" font. (Just a tip: when printing out documents using the "Linden" font, I love it best in font size 11!)

Fonts are sometimes so limited and boring that it is hard to stand out your designs. What is worse is that you want unique, visually interesting designs, but you still have to use common fonts people have already used. Therefore, Happy Twigs can be your interesting alternatives. Happy Twigs is a twig branch-inspiring display font of which letters are made in a lot of lines forming complex, attractive displays. Its unique character is due to the complex, detailed displays with which you can apply for any artistic, creative designs. Such a display font is applicable for any nature related products. Its complex, attractive letters will help you emphasize the messages you deliver and express different nuances depending on the design and color choices. In addition, it shows crowded and detailed, yet artistic and attractive nuances. Happy Twigs provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Happy Twigs fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

This pearl by Kevin King was the best faux chinese font I've ever come over, and now it can be used for setting themed text and menus in many more languages! :) Kevin King says: "I have said before you know - I can if I want to (Stamp! Scowl!). Cod Chinese of the worst kind, I wanted a "Chinese" font for a project and couldn't find what I wanted. I painted this font with a Chinese brush and imported the resultant mess - it's been a while since I did any Chinese calligraphy - add that to the fact that I don't read or speak Chinese..." 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.

Jim Rimmer’s first typeface was originally published in 1970 as a basic film type alphabet through a small, independent type house in central California. Its sources of influence (now calligraphic type standards by Dair, Goudy and Zapf) are ones that remained with Jim for the rest of his career. If you squint at Totemic in just the right way, you can see some recognizable themes Jim would later flesh out and make his own in later works throughout his career as a type designer and printer. Totemic is now available for the first time as a digital font, of the refined and expanded kind now expected from Canada Type. It comes with quite a few standard advanced typography features: Small caps, caps-to-small-caps, automatic fractions and standard ligatures, stylistic alternate sets, six kinds of figures, case-sensitive forms, and extended Latin language support. It also comes with a very unique and unprecedented feature: Variably stackable totem poles. Simply enable the discretionary ligatures feature, type any unique three-digit combination using numbers between 1 and 4, and watch the magic happens. With a name like Totemic, we just couldn't help ourselves. Many thanks to Andrew Steeves of Gaspereau Press for finding Jim’s lost gem in a most unexpected place, and for helping us bring it back to life 45 years after its analog birth. 20% of Totemic’s revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

The Phantom Isles: Retro Tiki Font A Textured Retro Font Inspired by Tropical Tiki Style and South Sea Adventures! The Phantom Isles is a hand-drawn font inspired by 1950s Tiki culture, tales of exotic locations and south sea adventures. It features the textured look of weathered wood and is the perfect choice for book covers, movie titles, theme parks or vintage themed events. The font includes a complete set of uppercase and lowercase characters, along with numbers, punctuation, symbols and language support. You’ll also find a set of specially illustrated underlines, shapes and icons including flora and fauna, old rope, skulls and more. A Brief History of Tiki Culture Originating from Māori mythology, a tiki is a wooden or stone carving that represents deified ancestors found in most Polynesian cultures. The mainstream and commercialised Tiki Culture that became popular across America from the 1930s to 50s was inspired by the sentimental appeal of an idealised South Pacific, particularly Hawaii, as viewed through the experiences of those who had visited such areas during World War II and cinematic depictions of beautiful scenery, forbidden love and the potential for danger. Over time it selectively incorporated more cultural elements of other regions that affected Polynesia, such as Southeast Asia. The Americanised form of Tiki Culture maintains a dedicated following today, particularly among those interested in 1950s graphic and interior design, history and the escapist lounge aesthetic it inspires. Learn more about the history of Tiki and Polynesian culture.

Discover an exquisitely elegant modern typography pairing with the Simple Serenity Font Duo. This beautiful set combines a contemporary take on a classic serif with a clean & modern fine calligraphy script—creating the perfect pair for stunning logos, wedding designs, quotes, display text and more. This font family includes; Simple Serenity Script • A clean, elegant hand-drawn script font containing upper & lowercase characters, all punctuation and numerals. Contains 50 ligatures to help the text flow naturally and add a custom-made feel. Includes 9 alternate characters for d,k,f,g,h,i,j,t,y which have extra flourishes. Also includes beginning and end swashes for every lowercase letter. Simple Serenity Serif • A modern take on a classic serif font. Contains uppercase-only characters, all punctuation & numerals. Includes 14 ligatures for extra flair and uniqueness, as well as 10 alternate characters for Q,A,M,E,R,K,U,F,H,W. Using Ligatures and Alternates; Both fonts contain a number of 'Standard Ligatures' (unique double-letter pairings) and 'Stylistic Alternates' (alternative letter designs) to provide you with more customisation options. Make sure these functions are switched on in your software in order to access these characters. You can also access these characters via a Glyphs panel. This is available on most Adobe software & Affinity Designer. Language Support; Both fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Icelandic, Slovenian

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Camper is an original font collection of sixteen display fonts and extras. Camper’s core is a low-contrast connected script with three weights. In addition there are Sans, Serif and Slab fonts. All Camper fonts have a coherent style of solid forms with soft edges. They all play well together but work as themselves too. Camper’s Print is the same family with rugged “printed” edges and print texture. Camper Script is packed with several OpenType features: Contextual Alternates and Standard Ligatures help to maintain smooth flow while typing and they’re normally on. If you need more flashy characters try Swash, Stylistic or Titling Alternates or seek for even more Alternates from the Glyph Palette. Camper Script is PUA encoded and you can access extra characters in most graphic design softwares even without OpenType support. From Discretionary Ligatures you will find several flashier ligatures and a set of Catchwords: Access them by typing “The”, “And” or “With” with Discretionary Ligatures turned on. Camper Extras is a pack of strokes and swashes designed to go with the script. Many strokes can also be directly combined with a letter to make a custom “swash letter”. Check out posters for more inspiration. All Camper’s fonts have a wide language support — even Cyrillic. Camper is a recognizable and sturdy display pack with smooth and friendly outfit. It’s great for any display project from posters to identities and from online to print.

Addition to the collection of TypeType display fonts! TT Espina useful links: Specimen | Graphic presentation | Customization options TT Espina is a display antiqua with expressive serifs. Inspired by the historical shape of the letter O, which took on a diamond shape due to print quality, the designers created a modern typeface with high contrast between horizontals and verticals. TT Espina is yet another proof that antiquas can be stylish and expressive display fonts suitable for modern projects. TT Espina will look harmoniously in headlines of posters or billboards, in gallery and exhibitions design, in large-format printed materials or on websites. The font is easily distinguishable among other antiquas by its high contrast, expressive and large serifs, closed aperture and diamond-shaped circles. TT Espina’s characters are quite narrow, which adds to the materials designed using the font a special aesthetic. It makes you to look closely into each letter, so the headlines set in TT Espina will definitely be read. A full set of different icons is a nice addition for designers who will work with a new typeface. TT Espina consists of 7 typefaces: 6 romans and 1 variable. Each typeface has 648 glyphs. The font family has 21 OpenType features, including changing the shape of some characters (Q, g, j), the possibility to replace characters with high-set diacritics with characters with low-set diacritics, which is convenient for poster design.

Caltic-Holiday, Caltic-Festival, and Caltic-Straight are three eye-catching, very bold typefaces that are suitable for posters and signage. Caltic-Holiday and Caltic-Festival base letter shapes on trapezoids with curved sides but with curves that are reversed going from one to the other. Caltic-Straight has letters based on trapezoids with straight sides. None are suited for text and with their built-in spacing will not work as all upper-case or all lower-case. All three come in two widths, regular and wide, giving the Caltic family six members. Caltic has nothing to do with Celts. The Calt refers to the calt or contextual alternative OpenType feature that makes this typeface work. When the letters on the upper-case keys alternate with the letters on the lower-case keys, they fit snuggly together. As long as the user has a word processor that supports the contextual alternatives feature, there is no need for the user to alternate letters; the calt feature does it automatically. Although the fonts seem similar to hand-drawn lettering that was done on posters and signs during the hippie era of the 1960s and 1970s, I can find nothing quite like them. My inspiration for them is older, in a newspaper from 1932 that led to the typeface family PoultySign. Caltic (and Lentzers) are the result of seeing what else I could do with the inspiration that sprang from that 1932 newspaper.

This set of decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of "Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...]" Author Symphorien Champion, unknown printer. There were three sorts of initials family, but only one complete and clear, except a very few characters. The printer used some letters to represent others, as V, turned over to make a A, D to make a Q, M for E, So, the reconstruction was a little less difficult. Thorn, Eth, L slash and O slash were also added. The original font's letters was only drawn in white on a black background only, but it was tempting to propose a negative version in black on white. A few letters have multiple appearance, but only the A was clear enough to be reproduced. It can be used as variously as web-site titles, posters and flyer design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font supports strong enlargements revealing its fine details and remaining very smart. Its original medieval height is about one inch equivalent to about three to four lines of characters. This font may be used with all our blackletter fonts, but as well with "1543 Humane Jenson", "1557 Italic" and "1742 Civilite", without any fear about anachronism.

Lust Didone’s character set was expanded as well during the redraw and update, the Italics were separated and reimagined anew from the universal italics in the original offering. Lust Didone also includes the new Fine optical size with complementing Italics for each size as well. And, yes, more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Arcade King is an exciting display font inspired by classic arcade games. Designed in uppercase, this typeface captures the nostalgic essence of retro gaming with its playful style. With consistent letter proportions and high contrast, this font ensures easy readability while immersing you in a world of gaming fun. The consistent letter proportions of Arcade King create a sense of harmony and balance throughout the font. Each uppercase letter is carefully crafted to maintain visual cohesion, ensuring a smooth and enjoyable reading experience. This design choice guarantees that every character complements the others, resulting in a visually appealing and cohesive typographic composition. The stark difference between thick and thin strokes enhances the visibility of each letter, making them easily distinguishable even at smaller sizes. The high contrast design adds a touch of boldness and excitement to the font, capturing the essence of the arcade gaming experience. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Arcade King fits in headlines, logos, posters, product packaging, branding materials, print media, editorial layouts, website headers, and any projects that aim to evoke a sense of fun and adventure. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Ikan Salmon Ikan Salmon a Handwritten Display Font With 3 Style (Regular,Outline and Shadow) You Can Mix And Match for Your Awesome Project This fonts is ideal for crafting, branding and decorate your any project. This fonts are perfect for wedding invitation or your blog. Also with their help, you can create a logo or beautiful frame for your home. Or just use for your business, book covers, stationery, marketing, magazines and more. FEATURES : Uppercase & Lowercase Number & Punctuation More than 254 of glyphs Multilingual Language PUA Encode 27 Ligatures Alternate The alternative characters were divided into several Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/

Lust’s original masters were completely redrawn, expanded, with a new optical size added based on customer requests. Lust now sports 6 fonts, instead of the original 4: Standard, Display, Fine, and complementing Italics. The character set has been expanded as well to include more OpenType features and more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Soho is the latest addition to the growing range of typefaces from Sebastian Lester. This grand opus of a project resulted in a typeface that comprises nine weights and five widths of precision engineered OpenType. 40 fonts, 32,668 characters and 24 OpenType features. Hot on the heels of the popular Neo Sans and Neo Tech range, and his first typeface release Scene, Soho represents three years of work by Lester. As a type designer I'm preoccupied with finding ways in which I can address modern problems like good legibility in modern media, and create fonts that work precisely and efficiently in the most technically demanding of corporate and publishing environments." Slab serif typefaces are enjoying something of a renaissance, offering versatility whether for corporate identity, product branding, text or display use. With 40 weights to choose from Soho gives designers endless possibilities from the ultra chic lines conveyed by the lighter weights to the rock solid statement made by the heavier weights. Soho is cross-platform compatible. The Pro version provides extended language support for Central European languages. Used in conjunction with software applications that support OpenType many useful features like "stylistic sets" can be leveraged -- in which a wide variety of alternative characters can be introduced at the click of a mouse button giving one font several "tones of voice" from conservative to cutting edge. The wide range of glyphs includes ligatures and small caps."

The Jazayeri Kufic Shoushtar font is a beautiful typographic implementation of the decorative Kufic calligraphy inscribed on the walls of the historic Grand Mosque of Shoushtar in southwestern Iran. This mosque contains many other inscriptions added over time for documentary purposes but its four monumental Kufic inscriptions which are revived in this font are the most essential ones to understand its design and meaning. Built in the ninth century CE, this mosque is one of the earliest hypostyle mosques in Iran. It was built in “the city of scholars” when its residents included two great Sufis, Sahl Ibn Abdullah Tostari and Mansur Hallaj. The designer and producer of the font is Seyed Mohammad Vahid Mousavi Jazayeri, a well-known Iranian master calligrapher, designer, scholar, and author. Mousavi Jazayeri has taken a personal interest in the Kufic script and devoted years to independent research, visiting archaeological locations, historic buildings and cemeteries, mosques, libraries and museums to study the script through direct contact. He has developed a systematic research methodology and published his findings in several books. His professional interest in script and calligraphy stimulated his discovery of the historic method for cutting the Kufic pen, which has had a direct impact on his own work, as seen in several well-received exhibitions and workshops. The historical research and achievements of Mousavi Jazayeri brought together the first international group dedicated to the study and revival of the historic Kufic script operation through kuficpedia.com.

Hello there! We are introducing my new font - Skypilot! This font is carefully selected from hundreds of letters. We manually created this font using a flat pen and make it as close as possible to street graffiti style. Not only that, we also make another typeface that is perfectly suited for this theme, Skypilot extruded! With those fonts, you can combine them as a pair to make them a layered style! You will make exquisite real street graffiti art just like on the wall that you saw in the city! Besides all this, the Skypilot Swashes and ornaments are designed to make your designs more fun! You can apply this font to t-shirt designs, posters, covers, video thumbnails, merchandise, wall, and so on to make it look special. ——— Skypilot features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +379 Total Glyphs +100 Graffiti Swashes and Ornaments included! ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ⚠️For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

Parsi Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parsi supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parsi Font is available in Light, Regular and Bold. Parsi design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parsi is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parsi's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Parsi was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Clementine, from Okaycat, is a font designed to be expressive. First, we wanted Clementine to be uplifting, friendly and warm. Secondly, we wanted it to be familiar, but neither staid nor boring. To make Clementine more warm and friendly, 90 degree corners and cubic forms were not allowed. All straight edges are either subtly curved or lightly tapered (with the small exception of the serif foundations, to create a secure base). To add an uplifting feel, all tapering flows towards the apex of the forms and the ascenders were allowed extra rising freedom above the capital height, similar to the effect intended in the architecture of old European churches -- to point all elements gently upwards towards heaven. To keep Clementine familiar, traditional type setting shapes were used throughout the font. To avoid the usual coldness of typical typewritten fonts, all forms were opened up, calligraphic touches were introduced, and any unnecessary serif elements were omitted. The result is a look that brings a touch of nostalgia or a "retro" feel. Clementine is highly appropriate anywhere a soft and friendly feel is desired. Can work well as a body text, or as ad copy. Clementine is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Bill Corporate is a geometric typeface with generous capitals. A modern classic, based on Max Bill’s lettering work, its straightforward and uncompromising construction can be both edgy and sublime. With minimalist letterforms, pointy apexes instead of flat ones, and archetypal proportions, this font family doesn’t follow any trends but strives to achieve a timeless formal vocabulary. The skeleton of its letters is based heavily on the famous primary shapes of the Bauhaus: square, circle, and triangle. This makes for quite wide uppercase and much narrower lowercase letters. The contrast between uppercase and lowercase benefits inexperienced users, who will be able to get appealing results quickly. At the same time, it’s a powerful tool for seasoned designers, who can employ either case selectively to set the desired typographic course. Bill Corporate Medium’s 16 styles (including a set of eight lighter-than-light fonts from “Two” to “ExtraLight”) are an excellent choice for editorial design, branding, headlines, and even short to mid-length copy in a wide range of applications and industries. The uppercase letters in particular—with their varied widths and lavish dimensions—are suitable for cosmopolitan and stylish logotypes and wordmarks. Whenever a timeless, staid, and classy look is demanded, choose Bill Corporate.

Designed with a hand-chiseled feel, Blau’s sculpted characters add a refined personality to a wide range of brand, corporate, product and service applications. Highlighting the sculpted theme, inkwell treatment variations are prevalent throughout Blau, with several key glyphs that are stenciled for increased legibility. This sturdy, typographic workhorse shines when a slightly unorthodox typographic approach is required — a prime choice for distinctive and dynamic logotype use. The Blau family is available in Light, Light Italic, Regular, Italic, Bold and Bold Italic. The name Blau was chosen to celebrate the color Blue (or Blau in German, Blaauw in Dutch, Bleu French, Blå in Norwegian, Swedish & Danish, Blua in Esperanto, Blár in Icelandic) Blue is nature’s color for water, sky, mountains and glaciers. Blue is embraced as the color of heaven and authority, denim jeans and corporate logos. Surveys in the US and Europe show that blue is the color most commonly associated with harmony, faithfulness, confidence, distance, infinity, the imagination, and cold. In US and European public opinion polls, it is the most popular color, chosen by both men and women as their favorite color. Another very popular Wilton Foundry font in the “blue” family is “Cyan” and “Cyan Neue”.

Nanami Rounded is a heavily engineered follow up to the hugely successful Nanami, which debuted at MyFonts #1 Hot New Fonts for over 2 weeks. Nanami Rounded is a carefully engineered take on the original Nanami family. We kept the curve very slight in order to keep the clean corporate balance, and not to go into a style that was too friendly. Nanami Rounded consists of 18 weights ranging from Thin through to Black. It has also extensive support for over 50 languages, and as a font family that works well both in headlines and bodycopy, Nanami Rounded is the perfect choice for a whole variety of creative briefs. The gentler, softer follow-up to the popular Nanami, Nanami Rounded is also motivated by the artistry of Japan. Smoothing the hard lines and definite corners of its predecessor just slightly, Nanami Rounded is still clearly defined and crisp enough to work in whatever context you need. If Nanami is a battle hardened Samurai, Nanami Rounded is the lotus blossom favour handed to him as he leaves his home village to go to war. If Nanami Rounded isn't quite floating your boat why not check out it’s counterparts Nanami and Nanami Handmade.

Camille was designed with exaggerated emphasis on letter vertical characteristic, by virtually eliminating the typical Arabic horizontal line look. This font glyph weights and look and feel are heavily influenced by early Kufic Quranic calligraphy style. Camille supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two spacing flavors have one weight each with a normal and a left-slanted Italic version. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Camille includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

Heading Now is the new incarnation of Heading Pro, developing the original typeface family designed by Francesco Canovaro for Zetafonts into a superfamily with 160 variant combinations. Built around 10 different widths, ranging from ultra-compressed to ultra-wide, and eight weights from thin to heavy, Heading Now provides a full spectrum of sans serif type solutions to your design problems. Born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. In these widths Heading Now excels in titles and subheadings, timetables, infographics and in situations of exuberant and excessive copywriting. On the other side of the width spectrum, you can find extended width variants, ready to be used for titling where style and energy matter more than pixel or paper economy. Heading family is not only made of extreme widths: you can use the medium width range to design body text. Matching italics provide versatility in text use, as well as a dynamic display alternate to the bolder weights. Heading Now keeps the original design of Heading, but extends the width and weight range while keeping its (post) modernist attention to readability and details. Each Heading Now font includes over 1100 characters with coverage for 200+ languages using Latin, Cyrillic and Greek alphabets. A full array of open-type features is included in each weight featuring also stylistic alternates, small caps, old-style and tabular numerals and positional figures. • Suggested uses: born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. Perfect for contemporary branding, web design, packaging and countless other projects; • 162 styles: 8 weights + 8 italics x 10 different widths + 2 variable fonts; • 1100 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

Greycliff Japanese CF is a Japanese-script adaptation of the original Greycliff CF sans serif typeface. The warm, geometric design includes full suite of 9 weights for beautiful dual-language applications. All 3,220 glyphs – covering hiragana, katakana, Joyo kanji, and romaji – were hand-drawn with a careful eye for detail. All Joyo kanji are included. Future updates will add rare name and geographic kanji. グレイクリフは、すでにリリースしている Greycliff CF サンセリフ書体にひらがなや漢字などの日本語が新しく追加されたフォントです。 大きな特徴として、グレイクリフ日本語フォントはローマ字（ラテン文字）のフォントデザインと統一されたバランスのとれたモダンな美しいデザインになっています。 フォントの太さは細字(Thin)から超極太字(Heavy)までの9種類を揃えており、幅広い用途に使用することができます。 ・合わせて約3,220文字を収録しています。 ・ひらがなとカタカナのフルセット ・常用漢字をすべて収録しました(~2136文字)。 今後のアップデート: ・すべての人名漢字を収録予定 ・地名になどに使用される漢字を収録予定

Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs. Due to the high contrast in the design - slightly reminescent of didone typefaces - Blacker has been developed in two optical subfamilies. The display version offers tighter tracking, higher contrast and sharper corners for maximum effect at big sizes, while the text variant offers better readability and screen rendering at smaller sizes, with lower contrast and looser spacing. In the pro version, two additional condensed variant families have been added (condensed display and condensed text) allowing for more freedom and versatility in typesetting where space constraints are present. Also, three titling uppercase-only variants have been added, with a slightly extended feel, and two decorative subfamilies (inline and diamond). Each of these seven variants has been developed in six weights from light to heavy, with matching italics, for a total of 69 styles covering a wide range of editorial and advertising uses. All Blacker Pro feature a revised and extended character set covering over two hundred languages using the latin, cyrillic and greek alphabets. Open type features include small caps, positional numerals, fractions, superior & inferior figures, alternate forms, and an extended set of standard and discretionary ligatures. With its bold personality, Blacker aims to be a modern classic used for bold statements and self-conscious brands, making your text look great both on paper and on the screens.

EngelNewSans is sans serif family of 12 weights and an upgrade of the typeface Engel also published by Die Gestalten Verlag. The project began with an extension to the original Engel character set and freshening up the typeface to suit the OpenType format. EngelNewSerif came about as a sibling to EngelNewSans as a corresponding serif family also of 12 weights, matching those of EngelNewSans. Both families are designed for a wide usage in running text and headlines. EngelNewSans is an evolved version of the original Engel typeface, which undergone improvements to the individual letterforms and the overall look which resulted in this sans serif type family with a more mature confident character and with softer, rounder and more harmonious shapes. The characteristics between the two could perhaps, very fittingly, be compared to a person showing different sides to their personality at different stages in life. With EngelNewSans portraying the more mature role while the original Engel shows traits of a cool teenager with rough edges, not yet fully developed. To make the light weights function with serifs attached for EngelNewSerif, the same low stroke contrast as seen in EngelNewSans was applied. Further discovery found that the serifs and the stem width had to be optically similar for the light weights not to appear too fragile. In the heavy weights however, the stroke contrast was higher than in the Sans versions, this was done to open up the counters and make room for the serifs to breathe. The intention of the families is to motivate an element of play and give the designer a larger selection to work with.

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."