Step into the future of typography with Cybermontage, a postmodern display typeface that channels the electric energy of the 80s and 90s. This font brings a fresh take on the retro typographic trend with its eclectic mix of campy colors, clean geometric shapes, torn paper edges, faux finishes, and kitschy patterns. Cybermontage is not your average typeface—it’s a work of art that uses OpenType technology to create a pseudorandomized effect by shuffling several variations of glyphs. Don’t worry if your application doesn’t support OpenType, you can access all the character variations from the Unicode Private Use Area (PUA) encoding. Get ready for a typographic adventure with Cybermontage. The character interconnection can get pretty wild, so if your application supports optical kerning, you may want to activate it. Whether you’re designing a bold headline, a retro poster or a quirky logo, Cybermontage will take your design to the next level. Join the postmodern revolution and make your designs stand out with Cybermontage, the font that defies convention and unleashes creativity. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

Peter Behrens’ renowned art nouveau type from 1902 – with ornaments. Newly revised and neatly digitalized by Ingo Zimmermann In 1902, Peter Behrens (1869–1940), architect, designer and typographer, created a new ”German“ type which became very successful very quickly for the Rudhard’sche Gießerei (foundry which later became Gebr. Klingspor AG) in Offenbach am Main. It served, for example, as the official German type for the world expositions in 1904 and 1910. Behrens himself writes about the development of this type ”...For the actual form of my type, I took the technical principle of the Gothic script, the stroke of the quill feather. The proportions of height and width and the boldness of the strokes of the Gothic letters were also decisive for me in producing a German character. A cohesive character could be hoped for by avoiding all non-necessities and by strictly carrying out the design principle of holding the quill at an angle…“ By the way, when “long s” is activated, the typographically correct “round s” is automatically placed at the end of the word so that you need only pay attention to the correct s on syllable endings within words. When using “long s,” you must ensure the correct use of the rules for the Fraktur font: “round s” is always at the end of the word, also in compound words. For those of you who want to be even more correct, read the corresponding article in >> Wikipedia. Peter Behrens also drew matching ornaments for his typeface – we have likewise carefully revised these decorative touches and arranged them into a font. The "Behrens-Schrift" fits best on all topics that have something to do with art history or the time around 1900.

Virginia has a proven track-record. Unashamedly geometric, starkly simple with a touch of art deco/bauhaus/rococo about her, she was the most popular headline face around, at least in my home town in the year of her release circa 1970. That was the year my five-weight design won the inaugural (and only) Lettergraphics International Alphabet design competition and shut out 5000 competitors. Alas, Lettergraphics ceased to trade from its LA studios after the mid-80s and Virginia's two-inch film fonts were left to collect dust on the cutting room floor. Until my recent decision to revive her along with some subtle tweaking, a few additional glyphs and Opentype features, supported by an abundance of kern pairs making Virginia suitable for text or the largest display type.

Bimbo is a monoline script font family created in 2018 by Francesco Canovaro for Zetafonts as an extension & redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi. Bimbo expands the original design with six new weights and over 300 new characters to cover over 70 languages using the latin, greek and cyrillic alphabets, while keeping the handmade aesthetic that made successful the original font. Bimbo is essentially a display font, born for minimal lettering and logos, with a handwritten sensibility enhanced by the built-in letter swapping open type feature that makes sure double letters are always different one from another. Open counters and a monoline design allow for great readability at small sizes, making Bimbo the ideal font for creating fake handwritten notes and meta-textual jokes.

In Amaboxi the upper-case letters are all placed upon a background inspired by the cardboard boxes that many people in Africa use to carry their possessions. The box takes its shape from the character and conversely, the character is influenced by the shape of the box. All characters except the six "fractions" are included in Amaboxi. It includes all upper and lower case letters as well as all numerals, punctuation, accented and special characters. All characters have been letter-spaced and kerned in terms of the box (not the character). This improves legibility, however, the inter-character spacing has been minimized so that there is often a very slight overlap between the boxes of adjacent characters. This generates an exciting and variable "white space" around the characters.

In the early 1960s, the Duro Decal Company of Chicago, Illinois added to its line of water-applied decal lettering a retail sign cabinet of die-cut, pressure sensitive vinyl letters and numbers. Four of the six sizes offered for sale were cut from white plastic with a black outline and a secondary gold inline for a tri-color effect. Sign Stickers JNL emulates as closely as possible the look of these nostalgic pieces, complete with the slight shifts in line weight due to hand-cut silk screens and the printing process. For those of you who prefer to make your own multi-colored letters, a three piece fill font set is available for the low price of a single font purchase. Combine the backfill, midfill and frontfill layers for a truly retro look!

Hazelton is a neo-humanist typeface inspired by the explorations and development of early British sans-serif typography. Six weight have been developed for Hazelton. The lighter weights are loosely inspired by Edward Johnston’s Underground typeface. The heavier weights glean inspiration from Stephenson Blake’s Granby. Sharp, pointed terminals that are indicative of British typography have been omitted in favour of a more modern sensibility. Subtle humanist characteristics become more exaggerated as the typeface increases in weight, making the lighter weights practical for text purposes and the heavier weights ideal for display use. A unique set of numerals have been developed to infuse them with a humanist quality that is often lacking when typesetting technical data. The result is a diverse typeface that is as powerful as it is beautiful.

Miraikato Script is a rustic handwriting typeface. As a cute brush writing, its naive and happy movements brings out the optimism and genuineness in any project. It has the flow and elegance of a formal font, while maintaining the youthful enjoyment of a real handwritten text. The Miraikato Script family is provided in six styles: The weights Thin, Regular and Bold, plus each weight as Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Document is an easy-to-read sans serif with large lower-case letters, but with one difference - it is slightly slanted to the right, but a lot less than a conventional italic angle. This is intended to give it a more informal and modern look than a perfectly upright font would be, and which also contributes extra dynamism while reading. It's a sort of in-between font, for situations where a boring old upright typeface is too formal and staid but where the italic version is too slanted and obvious. There are six weights, giving adequate representation for most jobs, from large bodies of text to headlines. The zip package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

Alleyn Pro is a re-working of the font Alleyn in response to a request to increase the character set and include Vietnamese. The fonts now cover most Latin languages, Greek and many Cyrillic languages – apparently around 275 in total. The letters have been redrawn and re-proportioned and the spacing recalculated to make for better reading at text sizes. Alleyn Pro has been developed to meet the needs of publishers, companies and individuals addressing a wide international market in a range of publishing media. The low contrast, slightly rounded sans-serif letterform with six weights and corresponding obliques provides a friendly and highly legible set of styles which are equally effective on signage, packaging, advertising and editorial. Opentype features include many numeral and positioning options, ligatures, stylistic alternatives and localised variants.

Streetscript Redux is an update to the now discontinued Streetscript. In the original version, it seems a lot of users didn't like the s’s in the font, and after seeing them redrawn (not always with the best results!) a few times, I decided to make a new version of the font with less idiosyncratic s’s, and this is the result, Streetscript Redux. (I should have listened to my other half - “those s’s look like fives,” she said) All other features of the original Streetscript are intact (barring a couple of s-ligatures no longer necessary). There’s been a little tweaking of some outlines, and slight changes with spacing too, but for the most part, all I've done is redraw those pesky five-like s’s, so that you don't have to.

During the turbulent era of the 1960s, the youth of America found various ways to protest against "The Establishment". Whether it was campus unrest, protest songs, sit-ins or other methods, the message was the counter-culture movement. Arising from this disenchantment with traditional social standards, a small but effective means of protest arose that made no sound, yet spoke volumes - the pin button. Statements against the war in Vietnam, free love, drug use and other messages popped up on little metal discs pinned to tee shirts, suspenders, head band and hats. Sixties Pin Buttons JNL recreates twenty-six of these messages in both white on black (upper case keys) and black on white (lower case keys). Blank buttons in both white and black are found on the parenthesis keys.

A classic serif font with a twist. WBP Emperio has an interesting shape. She has rounded corners and a slightly 'curvy' look. The little indent makes her stand out above the rest. A sensation in the making. Emperio has two styles. The Regular: Great for designing friendly corporate identities. And there's the Hand Drawn style: Great for design posters of prints with a handmade feel. Combine the two and you can go infinite. WBP Emperio was a sketch I designed when I started my company. So you can say it's been five years in the making XD. When I was invited to add two pages to the Typodarium 2022, I speeded up the process and added the hand-drawn style. The end result is awesome. A classic serif font, with a crazy extra style.

Murality is a cartoon graffiti typeface. The letters are fun and friendly, with a happy personality and optimistic quirkiness. A street sans-serif style, Murality is drawn and created by Mans Greback, and is the perfect combination of cool and childish typography. This hip-hop styled comic typeface family consists of six styles: Regular, Thin, Black, Black Thin, Outline, Shadow The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Jester Jumble - Fun Clown Font is a whimsical and playful typeface designed with a clown and circus theme in mind. Its quirky characters add an element of chaos and fun to your designs, making it perfect for projects that require a playful touch. This font includes six adorable clown-themed decorative variations, featuring circus hats, masks, laughing mouths, and more. Perfect for clown-themed designs, such as invitation cards, birthday invites, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more, Jester Jumble adds a delightful and entertaining dimension to your creative projects. With its charming and playful style, this font captures the essence of circus merriment and clownish fun, making it an ideal choice for any project that aims to bring a smile to people's faces.

Benson Script is a script that is desperately trying to be anything but a script. With 3 contrast levels, and 2 styles, the six styles of Benson Script are an experiment in the diversity of a single stem width. Modernism’s desire to fit all elements within geometric constraints and adhere to strong verticals has spread throughout type design, but has had little to do with the frills and ornaments of script. Cutting a script down to its bare bones is an offensive idea to many—almost seeming insulting to its genre. Benson Script bridges that genre gap between frill and function. As a matter of genre Benson Script errs on the side of modernism, and adds flair as a last resort. Read more about her open type features, and the development process here.

Christmas Chances - Christmas Font is a captivating display typeface designed to evoke the festive spirit of Christmas. With its elegant serif letterforms, this font adds a touch of sophistication to your holiday-themed designs. It comes with ligatures and six unique alternative decorations, including Santa hats, Christmas trees, Santa Claus, festive ornaments, Christmas cakes, and more. These decorative elements allow you to infuse the holiday spirit into your projects, making it perfect for various Christmas-themed designs. This font is specifically crafted for Christmas-themed projects, making it a versatile choice for a wide range of applications, including t-shirt designs, invitation cards, greeting cards, mugs, gift designs, Christmas ornaments, and much more. Christmas Chances - Christmas Font is your go-to choice for spreading holiday cheer and warmth in your creative endeavors.

In the 1990s Adobe’s MultipleMaster technology introduced interpolation into font editing programs. Though the obvious use of interpolation was to create an unlimited number of weights for a font, interpolation could also be used to crossbreed two completely different typefaces. IngrianEuroikaH is a hybrid resulting from such crossbreeding of two very different parents. Euroika is a decorative font with high contrast and thin, square serifs while Ingriana is a relaxed, informal typeface. IngrianEuroikaH was constructed in 1995-6; updates in 2012 and 2020 cleaned up many of the remaining oddities that resulted when parts of the parent fonts clashed. The family retains some peculiarities from the method of its construction but is highly readable as text. The IngrianEuroikaH family has six styles: regular, semibold, bold, italic, semibold italic and bold italic.

While designing a logotype for a client, she described herself as "loud and colorful." Thinking about some eras in typefaces that portrayed this idea, I instantly thought of the "Roaring 20s" and the Prohibition era where the cinema is starting to take off and the Italian mafia are running the bars. (Which is coincidental because my client has family connections to Al Capone.) One of the most iconic typefaces designed for these times was Broadway by Morris Fuller Benton in 1925. This typeface was the zeitgeist of Broadway, the big city, theater, and cinema, which can now be seen in use almost everywhere an old family run cinema is located. Using the heavy influences of the thick and thin contrast of this typeface, Maritote brings the charm of Broadway into the 21st century.

Haven font family is based on the compositionality of constructive elements that create the final shape of individual letters. Mechanical connecting was continuously adjusted by a type designer’s feeling. In this way Haven differs from similar typefaces of the 1960s and 1990s. Six fonts of different stroke intensity create a rich family of typefaces for a variety of uses in typography for special occasions. Although the typeface was drawn for headings, it is suitable for typesetting of long texts in a book. Even in extreme reduction it retains its technical basis, negating classic book alphabets, and it adds an experimental look to the text. Both extreme fonts Thin and Black create strong contrast and their magnification brings attention to their interconnection of all details. Serif version Haven Serif is also being prepared.

AmpleAlt is a alternate version derived from Ample type family. AmpleAlt is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer's attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. AmpleAlt is designed by Aakash Soneri in the year 2014.

Poleno is a custom typeface originally designed in 2006 for the Slovak folk dance ensemble Poleno, as a part of their corporate identity. Ever since, new weights have been added to complete six variables and two different options for accents. The typeface adds a fresh, bold and non-rational feeling to headlines and titles in books and posters in display sizes where emphasis and detail are equally important. Randomly-generated contextual alternates included in the family contribute to add a distinctive look to words with repeating characters, whenever they occur next to each other. The difference between the Poleno Set and the Poleno Alt Set is in the accented characters. In the first one, accents are merged with the characters and in Alt version, accents are separated from the characters.

Sancoale is a new sans serif that is simple and geometric. It is a contemporary design that is distinctive and unique, but not too far outside the box. This makes for a typeface family that is very useful for many applications. The design is simplified without stems or spurs in the default character set. The OpenType alternates do include alternates with stems, and there are six weights with true italics. Please see the informative .pdf brochure to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Sancoale is a great choice for a professional designer that wants to achieve a simple but still unique look.

The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in wartime Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and gild them. Instead, they were cut in perspex and gilded. To sit comfortably within the long and narrow vertical space available beneath the chapel’s stained glass window, extended letterforms were used with many vertical serifs omitted and with lengthened horizontal serifs. Some twenty years later, the missing upper-case letters were drawn together with the lowercase letters and Frieze, the font, was born. Subsequently, additional weights and styles were added to create a font family of six styles.

Marathon was originally designed by Rudolf Koch in 1931 for Schriftgiesserei Klingspor. It is a roman with short ascenders and descenders. The serifs are small, but longer at the ends of the arms of E, F and L, M is rather splayed and is without top serifs, like M in other typefeaces designed by Rudolf Koch. The lowercase g has no link and an open tail, again like the g in other Koch types. U has the lower-case design. In the W the middle strokes cross, the lower case w has no middle serif. The figures are short-ranging. Ute Harder from the Fachhochschule Hamburg had redesigned Marathon with the help and supervision of Professor Jovica Veljovic. She has added a book weight to offer more flexibility with this beautiful typeface.

Le Havre Width is the loveable putty of fonts. Stretch it. Squish it. Squeeze it. Whichever way you play with it, you’re bound to find hours of fun ahead. This avant-garde typeface family has six distinct weights--each one including a set of four different widths. It’s randomized rhythm also includes selectable glyphs for customization, enabling you to bounce plenty of ideas around for diverse logotypes as well as for specific looks focused on a single width. Looking for even more fun with this geometric sans? Try adding in some of the alternate ligatures, or use the two different art deco styles included with the font. The all-around whimsical nature of Le Havre Width is perfect for toys, posters, T-shirts, cards, and anywhere else where fun is the name of the game.

With 662 glyphs, Anemos font is the perfect mix of elegant and casual. The Open Type features include a full international character compliment, standard and contextual alternates, swatches, stylistic sets, initial forms, standard and discretionary ligatures (capital letters have at least six different forms and the lower case letters ten). All this makes the text lively and bouncy, without the monotony of obviously repeated letterforms. In addition, we have included some ornaments designed to support the font, some were specially designed to be combined with the letters for a "more calligraphic" effect (access to them through the glyphs palette). Anemos can be the option used to create titles, logos and posters for brand and packaging purposes, invitations, greeting cards, magazines and book covers, children's material, fashion, and where you want it.

AmpleSoft is a softer version derived from Ample type family. AmpleSoft is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewerís attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. AmpleSoft is designed by Aakash Soneri in the year 2014.

Itacolomi is a font family conceived for editorial purposes. Based on historical models, it is well placed in the present time, turning classic proportions into contemporary letter shapes. It is robust and clean in small sizes, keeping the consistency in both print and digital environments. Itacolomi is a result of an extensive investigation into Scottish style types produced in Brazil around 1820. A possible connection between Brazil and Scotland. In short, it preserves the qualities of the famous 19th-century Scotch Roman types while adding a personal approach with unique features from the early Brazilian models. It has six weights, romans plus respective italics, which makes twelve fonts with an extensive character set that supports over two hundred languages and includes small caps, ligatures, old-style and tabular numerals.

Joost Schmidt?s (1893?1948) name is undoubtedly connected with monolinear condensed letters of geometric appearance ? his unfinished draft of a stencil alphabet, constructed on grid paper in 1930, is much lesser known. These modular shapes simply consist of half circles, quarter circles and square strokes with half-round terminals. From just six original letterforms (a, b, c, d, e, g), Flavia Zimbardi completed Schmidt?s draft and extended it to a full character set for contemporary use, adding upper case letters and different figure sets including old-style. Joschmi overcomes legibility issues usually associated with this stencil style, with special attention to the design of white space. Zimbardi lends the face even more character by carefully adding round terminals in subtle spots of the alphabet, accessible through stylistic sets.

Alonzo is a modern cosmopolitan who speaks several languages fluently. Alonzo comes in six weights and two widths, as well as corresponding italics, making a total 24 styles. Alonzo is an elegant, simplistic, high-contrast sans that is at home in high-end fashion and cultural environments, as well as in the world of restaurants and nightclubs. While Alonzo Condensed is more illustrative and works best in display use, headlines, logotypes, labels and all that, Alonzo Regular works in a wider range of contexts, from body text to editorial and catalogs and more. Alonzo is equipped with several OpenType features such as oldstyle figures, small caps, Standard Ligatures, Superior and Inferior Figures. In addition Alonzo has Stylistic Alternate lowercase "a" with round Bowl. Me llamo Alonzo. Mucho gusto, piacere di conoscerti, nice to meet you!

Introducing Analogous Script is elegant calligraphy font with a classic style and a touch of elegance, inspired by the handwriting and ancient manuscripts. Carefully designed to work together in harmony that makes it very suitable for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires a classic, formal or luxurious. Analogous script, an elegant, full-featured script font with tons of alternate characters and OpenType features. Hand-lettered with a heavy right slant. Specific OpenType features include contextual alternates, stylistic alternates, initial and final forms, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), ligatures, standard numbers, and six ampersand styles. What's Included: Analogous script .OTF Alternate Character Map for swashes, alternates, etc. PUA Support Thanks!

Kobely is a reproduction of a local broadcaster's real handwriting. My daughter thought her boss's handwriting was so neat and uniform, it would make a great font and asked if I would be willing to create it. I agreed. She had him write out all the basic characters, which he gladly did with both a standard ink pen and a Sharpie¨ marker. I then turned it into a three weight family, perfect for use on post-it notes, shopping and to-do lists - anywhere you need the natural feel of real handwriting. I created it in various weights to spare you from adding a stroke to make it bolder. Adding a stroke can often compromise the small details of a font. Kobely is designed to be readable in even the boldest weight!

AmpleSoft Pro is an extended version of AmpleSoft type family. AmpleSoft Pro Includes Extended Languages Character Set for following: Azerbaijan, Belarus, Bulgaria, Czech Republic, Kazakhstan, Latvia, Lithuania, Polish, Romania, Russia, Slovakia, Ukraine, Uzbekistan, Vietnam. AmpleSoft Pro is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer's attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights: Thin, ExLight, Light, Regular, Medium and Bold.

TOUCHDOWN! This is not a Hoax, not a What If, not an Imaginary Font! The Eagle has Landed... Comicraft's latest manned mission: Space Age Faces for Space Age Spaces! Our Apollo Modules have settled in the moondust and our Astronauts are buckled up in the Rover collecting little rocks and looking for suitable spots to play golf. We invested billions and billions of dollars to send these fonts into space using the largest and most powerful rockets ever built, and rest assured, our Orbiter is coated with a phenolic epoxy resin ablative heatshield to protect you for your journey back to Earth. Features: Six fonts (Modular, Modular-Bold, Orbiter, Orbiter-Bold, Rover, Rover-Bold) with upper and lower case characters. Opentype version of Orbiter also includes 52 auto-ligatures.

Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass. Neubau Pro is the new edition of Neubau fonts. The new typeface is an upgraded version of an old fonts (2009), with careful refinements to glyph shapes, and the extension of glyph amounts which enabled support of more Latin languages as well as Greek and Cyrillic languages. Neubau Pro is released in six styles with small caps, and true italics, and contains OpenType features. This typeface can be used for editorials and print designs.

While watching the 1947 holiday classic “Miracle on 34th Street”, one scene in particular presented a chance to develop a retro type design. ‘Kris Kringle’ suggests to a mother visiting with her child in the Macy’s toy department to try Gimbel’s for a toy she couldn’t find at the store. The news of this behavior reaches Mr. Macy himself, who embraces the practice as a brilliant marketing strategy. A number of departments are then presented with reference books containing competitor ads, and the visual of the cover stating “R.H. Macy & Co. Shopping Guide for the Convenience of Our Customers” shows on screen. The thin, Art Deco sans serif monoline with a few serif-like hooks added onto some characters became the basis for Shopping Guide JNL, which is available in both regular and oblique versions.

Montauk Pro is named after a small village in Suffolk County, New York on the South Shore of Long Island. It is the easternmost area in Long Island, and thus the easternmost area in New York State. It is home to Montauk Point State Park, site of the Montauk Point Lighthouse. It is named after the Montauk Indians. Montauk Pro is a casual, jaunty and quite beautiful handwriting script. It comes with six styles as light, light italic, regular, regular italic, bold and bold italic, each style with about 1.000 characters covering the complete Latin glyph set for West and East including Baltic and Turkish, including a large selection of ligatures, character combinations and alternates to make this beautiful script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7.

When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts in fear as being seen as a one-trick-pony. A few years have passed and some early sumi-e brush ‘doodles’ kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka. This new font was turning out to be far more expressive, smooth and rough, tasty but sticky. This dichotomy demanded a new name. The rough and smooth texture suggested the name Fugu—oddly delicate while rough and functional.