Hello Everybody, I just want to introduce my new twin cute fonts in one. These are "Angry & Hungry". As the preview images, This font comes with funny, cute taste. These fonts can be used in everything your requirement. What's include : - Angry & Hungry otf - Angry &Hungry Shadow otf - Angry & Hungry Script otf - Angry & Hungry Script Shadow otf If any question, please contact me. Happy Designs, Haksen

Introducing Inkarus a playful font with a bold and all uppercase characters style. This font is perfect for posters designs, packaging, logotype, title, label, print ads, gift card, magazine title, movie title, sign, and the beautiful and curvy shape will give your designs that alternative look to your creative work looks innovative. Amazing curvy was hand-drawn and make the outlines look irregular and beautiful. This font has a lot of hand-lettered looks and the characters give a retro or urban feel. Inkarus has a serif style but can collaborate with sans-serif style together because the modern bold sans serif typeface has been the alternatives and ligatures of this font. Combine that bold shapes together will make your work a more unique, retro attitude. Ligatures Inkarus has 32 ligatures that you can turn on via the glyphs panel in Adobe applications. The ligatures make a innovative difference in the look of this font. It switches out between serif and sans serif styles that make your designs look still unity. Opentype The Alternatives and Ligatures use OpenType features. First, you will need a design app to access these options an application such as Adobe Photoshop, Illustrator, or InDesign. Alternatives All lowercase a,d,e,h, I, j,k,l,m,n, p,r, t, r you can switch out letters for other and makes your design look more like hand-lettering and innovative although you using in a repetitive way. Inkarus font includes; All uppercase characters 32 ligatures option Support for multi-languages characters Punctuation, Symbols, and Numbers Alternative lowercase characters ( a,d,e,h, I, j,k,l,m,n, p,r, t, r ) The font format is OTF So what you are waiting for? Grab it fast this font and make your innovative design. If you have any questions drop me a message.

Mantika Book expands the Mantika super family: a contemporary serif font with a soft, yet robust character and a classic lookMantika Book, an Antiqua, is the third member of the Mantika super family, which consists of the Mantika Sans and Mantika Informal. Designer Jürgen Weltin has gone back to the roots of his font, which he had originally derived from a Renaissance Antiqua. These origins are recognizable in the first member of the Mantika family, Mantika Sans, in the form of carefully suggested line use and a contrast in the weights that recalls the Antiqua. This solid sans serif, optimized for use in text, also has a particularly energetic and dynamically designed italic. Mantika Informal also brings to mind a cursive font at first glance; ultimately, however, it is not easily categorized. Its light, organic shapes combine the informally flowing style of cursive handwriting with the open and airy form and contrast of a humanist sans serif. The shapes in the serif Mantika Book are also based on the Renaissance Antiqua, just like the other members of the Mantika super family. However, the contrast in the weights is somewhat stronger than is conventional for this genre, and the serifs are characteristically asymmetrical, with slanted ends. Lightly grooved stems with an implied curvature in the lower-case letters as well as dots whose shape flirts with a fountain pen lend the Mantika Book a dynamic and particularly friendly character. Details like the open "g" or the contoured foot of the "k" emphasize this dynamism. The letters of Mantika Book have the same large x-height as the other members of the super family, but are equipped with somewhat longer ascenders and descenders.

After exploring tessellations for several years, I decided to see how many ways I could tessellate puzzle pieces. I began with a square template and used the same asymmetrical shape for all four edges. By flips or rotation each edge could be fitted in four ways. Eventually I discovered that, given this way of forming tiles, there were 15 distinct shapes that tessellate and these shapes can take a total of 96 orientations. (A note in the November 2016 issue of Mathematical Gazette has the proof for the 15 shapes.) This typeface contains those 15 shapes and 96 orientations. A pdf note here shows some of the tilings possible using only one shape in a pattern. An unlimited number of patterns are possible if shapes are mixed. There are two members of the family, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns.)

Frutiger Capitalis Regular and Outline belong to the group of typefaces for the Linotype’s Type Before Gutenberg project. However, they are not based on direct historical sources. At first glance, they may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was “a liberation”. After working on so many sophisticated and meticulously designed typefaces, Frutiger Capitalis was a breath of fresh air. Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger Capitalis Signs, a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately “legible”, others leave room for interpretation. Some of the symbols are the product of Frutiger’s imagination, such as his “Life Signs” — soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life, a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply “wants to tell stories, to draw thin lines, create contours of signs; that is my style”.

Linotype Zapf Essentials is the modernized version of Zapf Dingbats and was also designed by Hermann Zapf himself. Over 372 characters and symbols are included within six fonts and make life a little more communicative, a little more informative, and a lot more interesting. The fonts contain symbols for both professional and everyday uses. With their markers, ornaments and arrows they are informative as well as versatile, timeless and lively. An interesting note to the story of Zapf Essentials: in 1977, Hermann Zapf created about 1000 sketches of signs and symbols. ITC chose those which became known around the world as Zapf Dingbats. For a typesetter, dingbats are the characters in the corner of the type box which can be used for just about anything. The last decade has seen the appearance of new symbols for e-mail, fax, mobile phones and other developments. These are now part of Linotype Zapf Essentials, just as they are now a part of everyday life. For a quick overview of the different Linotype Essentials variations, see the keyboard layout PDF in the Gallery section. It shows the keyboard layout of each font. A helpful hint from Hermann Zapf: Linotype Zapf Essentials should be used sparingly so that the characters retain their emphasis.

Around the turn of the twentieth-century, Steel and copper plate engraving was the most sophisticated and expensive method for producing business cards, stationery, and formal announcements. In engraved printing, the image is incised, or engraved into a hard, flat plate. Ink is applied to the plate, and then wiped off; leaving only the ink that is trapped below the surface in the incised areas. When the paper is pressed against the flat plate, the ink is drawn out of these areas and transferred to the paper. The results are twofold: printing which sits above the surface of the paper, and the reproduction very delicate lines and shapes. For business and formal printing, engraved printing was, and is, considered the best. The problem is that not everybody can afford the best. Type foundries, in the early 1900s, figured that if they could produce a typeface for traditional printing, which had appearance of engraving, they would be able to satisfy the needs of those forced to live with modest printing budgets. Engravers faces were born. Fredric Goudy’s Copperplate Gothic was one of the most popular. Plate Gothic is a version of this style updated for digital technology. It has all the charm and charisma as the metal type and yet is perfect for today's needs.

Phiz is a diverse suite of 28 decorative fonts based on Figgins Sans Extra Bold. Classic (10 fonts), Rounded (7 fonts), Rough (4 fonts) and Particles (7 fonts). The Rough and Particles styles emerge as a unique niche—neither imitating distressed printing (e.g. the “rusty” look), nor casual, hand-drawn styles. These type designs are conceived and executed as complex algorithmically-generated graphic procedures, in which repetitive elements have been artfully applied to the Sans capitals, and manually nuanced. As such they also differ substantially from textured glyph shapes that have been cut out from larger pattern fields, for the constituent particles are disposed in relation to the specific shape of each character they define. The caps-with-small-caps format was chosen for two reasons. Firstly, titling display usage is predominantly capitals, and secondly, rather like optical scaling, having the same resolution of texture available in two different “sizes” (upper and lower case) should prove useful in the hierarchy of page layout—not primarily for setting upper and lower case text as caps-with-small-capitals, although this is of course an option. All figures and major symbols (punctuation and currency) are provided in both cap and small cap height.

So far the Creator Campotype standard version known in the form of free font (published on several websites by license: free for personal use). The font takes the basic form of modern typography, but some user feedback consider it in the medieval look. Whatever it is, the inspiration of the font was originally set off from the logotype of internal student magazine where the designer had studied in the late 80s. Creator Campotype is a pure display font. This fonts do not have faces lowercase, but all caps. Nevertheless forms of different characters can be accessed by pressing the uppercase and lowercase on the keyboard. Maximum usage can be made by combining them as necessary. Some forms of characters were made more stylistic such as slash and backslash which “out of” the conventional form. In addition, the circle effects on several glyphs were created by default (as found on the free version) so that the glyph was enough to generated with the keyboard access as usual. Information for those who have access to the free version, there are significant changes in this version (2001) as described in the file “creator ct pdf” (gallery)

Multicolored Fonts Many years ago, when Xerox Corporation still had its own font department, I came to Los Angeles in 1985 to train the IKARUS program. One day Bill Kienzel, head of the Xerox font department at the time, said we should go to the Hollywood Hills together; he knew people there who were experimenting with multicolored fonts. After a little wandering through the winding streets of the many hills, we reached a somewhat overgrown, simple family house standing under trees. A group of very inspired designers were waiting for us there. They immediately showed us the works they created using photomechanical tricks. They were fascinating. The American colors and the whole look seemed noble and enchanting. The problem was that this process was very difficult to implement and required a lot of effort on individual letters. They dreamed of a colored font that could be used for normal typesetting. We thought back and forth about how to save the individually colored letters in a common font, but soon gave up because we didn't see a technical option. So this idea and the memory of the time in Hollywood lay dormant in the back of my mind for many years, until at the beginning of this year 2023 I received an order to produce an outline typeface and the story came back to me. Suddenly I knew how to solve the problem from back then: if only the areas that should have the same color in all letters were saved in their own separate fonts, they could be colored independently of each other and later placed on top of each other. I implemented this in the 5 fonts that are now available with the 3 variants “Outside”, “Middle” and “Inside”. Together with the background, 4 colors can be combined with each other. This method works in text programs such as Word or InDesign. In Photoshop or Illustrator, the individual surfaces can also be colored by converting them into paths if the additional “Complete” variants (which contain all 3 contours) are used. There is also a “Basic” variant that can be used to achieve special effects such as overlay, bleed, etc. The first 5 fonts in this series are all based on the principle of contouring. Anyone who claims that you don't need any special fonts because they can be created automatically from any font using common programs is wrong or is only telling only half the truth. Anyone who has ever dealt with this knows that many individual adjustments to the design are necessary after contouring. This has happened in the 5 fonts that are now available and have very different styles. The dream from back then has come true. The user can set any text, long or short, in multiple colors, freely design the color scheme and apply all the usual typographic settings. Volker Schnebel, November 2023

Here’s an intriguing mixture of 1930s deco and modern tech fashion. Travel Kit Medium is a sturdy semi-serif hybrid with one foot in the past and another in the present. It is slightly low-waisted with extended crossbars on the capital A, E, F, H, K, and P. But the capital B, M, R and X are distinctively contemporary with the E and M repeated as unicase letters in the lowercase. Optional retro characters (notably the unicase e and m) have been provided if you prefer a more traditional overall look - and your software allows access to these characters. Simply find and replace the more modern letters with the older ones. In addition, small caps with even more alternate characters have been included for greater flexibility and convenience. Travel Kit Medium with Alternates is now available in the OpenType format. In addition to small caps, lining figures, oldstyle figures, and petite figures, this expanded OpenType version contains additional 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.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines. Please note that Interleave SB and Interleave OCR SB are versions which are for decorative purposes only.

The lightest weight of Presley Slab takes inspiration from a late nineteenth-century type specimen, but what began as a decorative and delicate contrasted serif stirred Alejandro Paul’s imagination to conjure voluptuous reverse contrasted letterforms. These became the heaviest weight of Presley Slab, which nods to the lacquered hairstyles from the birth of rock ’n roll with its idiosyncratic ball terminals. Its playful allure and swagger remains visible in the weights that stand between these two extremes but as the curls loosened, many things happened in the design process including the appearance of swashes and alternates. Presley Slab’s personality has breadth; it is a fun, confident and contemporary palette of letters that will perfectly perform for any job, from editorial design to branding. The Extra Bold and Black weights are a powerful option at large sizes for use on posters and billboards; the graceful Thin and Extra Light weights are delicate options for packaging design or fashion branding. Despite it conjuring images of mid-century music halls, Presley Slab is also staunchly European in it’s aesthetic, offering everything from good-humour to elegance with its unique touches.

This version of News Gothic contains the Vietnamese character set. Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Body Types). The most obvious differentiation can be found in the spacing. That of the Body Types is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Body Types, fine spaces were created which prevented the smear effect on acute angles in small type sizes. For a number of Body Types, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

The free form hand lettered titles for the 1961 film “The Children's Hour” inspired the digital typeface Late Hours JNL, which is available in both regular and oblique versions.

Mondio, it is a low script hand writing font. handwritten to give your designs a free-flowing and stylish design. , this font is a delightful addition to any project!

“LAPOYA” (meaning in english “the coolest”) is a large slab serif typeface family, with a certain Italian inverted contrast touch. Specially designed for advertising big shows and commerces, Lapoya has 36 variables and four axes, including a text and decorative versions, where the drawing and width of its counterforms vary. It also has icons that remember the old aesthetics of wood types from the early 20th century, and more than 400 characters with a multitude of signs and ligatures, that make Lapoya ideal for up to 89 languages. It is clearly inspired by the large wood types designed for posters, advertisements and newspapers. Since they were introduced in the 19th century, slab serifs have become extremely popular. In fact, serifs are often enlarged, not so much to look like beautiful or balanced letters, but to be more graphic and visual powerful than others. Furthermore, in the case of this typeface, this idea has been applied not only to capital letters, but also to the lowercase, numbers and signs of all kinds. “That’s why this typeface is LAPOYA!” Designed by Carlos Campos in 2023. cuchi@cuchiquetipo.com OPENTYPE FONT 426 GLYPHS 388 CHARACTERS 4 AXES 36 INSTANCES 9 LAYOUT FEATURES 89 LANGUAGES

The careful balance between the emotional swings and shapes set in strong contrast such as the burly serifs, or generally vertical and orderly appearance within the Duwal Pro determine the special look of this Antiqua typeface. All characters of the Duwal Pro are designed to be open and accessible. The lowercase letters are designed with a large x-height, which is why they are ideal for small font sizes. Many striking details give Duwal Pro a defined and firmer appearance with increasing font size so it is also suitable for use in headlines and work marks. The deliberately constructed and emphasized design of the serifs give the font a strong position and at the same time force the reading direction. Using Duwal Pro in Bold weight, the serifs look clearly striking, the design language is concise and the typeface receives an additional sympathetic force. The Italic weight draws on the expressive but not intrusive design of the Regular, but appears sharper and is ideal for text passages. The font family contains italics, small caps, lots of ligatures, swashes, another format set, contextual alternatives and special characters as well as other open-type features which allow the use of Duwal Pro in 48 languages.

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.

Here's a bit of fun! Need a dingbat with character? Let these birds strut their hand-drawn way across your work.

DECORATE THE SEASON with 62 retro-style Christmas decorations. These decorative accents are a great addition to your holiday font collection.

How can Teutonia be called “Art Nouveau” with all those straight lines? It seems like a contradiction. In fact, however, Art Nouveau embraces a rather wide variety of stylistic approaches. Five well-known examples in the field of architecture serve to illustrate the range of diversity in Art Nouveau: Saarinen’s Helsinki Railroad Station, Hoffman’s Palais Stocklet in Brussels, Lechner’s Museum of Applied Arts on Budapest, Mackintosh’s Glasgow School of Art and Gaudi’s Sagrada Familia in Barcelona. Only the last fits comfortably within the common perception of Art Nouveau. Whereas Gaudi would avoid the straight line as much as possible, Macintosh seemed to employ it as much as possible. The uniting factor is that they all represent “new art” -- an attempt to look things differently than the previous generation. Even when they draw on the past -- e.g. Lechner in the use of traditional Hungarian folk art -- the totality of the expression in new. Teutonia clearly shows its blackletter roots in the ‘D’ and the ‘M.’ Roos & Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimer took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them. Teutonia is compact and surprisingly readable at 12 points in print, but does not do as well on the screen. Extra leading is suggested. Four ligatures are supplied: ch, ck, sch and tz. The numerals are tabular.

INTRODUCING THE GEMINI TYPE FONTPACK, an industrial-strength OpenType font bundle inspired by and optimized for dimensional type. Chank Co is proud to introduce the new “Gemini Type Fontpack,” a collection of ten fonts available for use on your desktop computer or web pages, but also optimized for use as exterior cast-metal signage in bronze or aluminum in collaboration with Gemini, a family-owned industry leader in the wholesale manufacture of dimensional letters, logo and plaques based in Cannon Falls, MN. Gemini collaborated with Chank Co to assemble a line of fonts that would work well as dimensional, cast-letter signage for use on the sides of buildings, in stores, and other public spaces. The fonts included in the “Gemini Type Fontpack” are reinterpretations of previous Chank Fonts, now optimized for dimensional signage display, but then also repackaged and presented for your use as an OpenType desktop computer font collection: GT-Adrianna DemiBold GT-Adrianna Bold GT-Adrianna ExtraBold GT-Fairbanks GT-Forward Thinking GT-Hydropower ExtraCondensed GT-Kegger GT-Shopaganda GT-Shopaganda Condensed GT-Timeless Geometric. This is a multi-purpose collection of heavy-lifting fonts to convey your message strong and clearly, full of legibility and clarity, but also displaying personality and distinction. You can purchase and download these fonts in OpenType format for your desktop computer right now via MyFonts. Get it today and you'll also get a great introductory special sale price. These exclusive typefaces are also available as dimensional letters, manufactured by Gemini in bronze or aluminum, from 6" tall up to 18" tall, with a variety of finish options, for use in public signage and wayfinding systems. Gemini manufacture their products in 20 plants through out the US, Canada and Mexico, and all their products are backed by a lifetime guarantee. Chank Co is excited to offer these ten strong, industrial font designs in durable cast metal format via Gemini. ----- More about the fonts in the Gemini Type Fontpack: GT-Adrianna DemiBold, Bold, and Adrianna ExtraBold Clear, invisible, no-nonsense, multi-purpose. A versatile sans-serif heavy-lifting font family. GT-Fairbanks Vintage, silent film, speedball, old-timey, old-fashioned, retro. Based upon the lettering in the 1914 silent film, “The Good Bad Man.” GT-Forward Thinking Futuristic, semi-serif, clean, distinctive, contemporary, idiosyncratic. A font for tomorrow and the future. GT-Hydropower ExtraCondensed Extra-condensed, compressed, strong, rigid and concise. GT-Kegger Strong, sporty, collegiate, athletic. Nothing says “GO TEAM” quite like a big, bold slab-serif font. GT-Shopaganda and GT-Shopaganda Condensed Industrial, geometric, constructivist, propaganda, oh there’s so much to love about the strength and clarity of these two fonts. Based on Chank’s Liquorstore and Nicotine fonts, which have been married and unified here, with a few new twists and turns to their letterforms. GT-Timeless Geometric Bauhaus, anyone? The geometric and minimalist alphabet here is about as clean and straight-forward as a semi-condensed sans can get. ----- All of the fonts in this package are available individually, or save money when you purchase all ten of them as a collection. Download this digital font package from MyFonts today and you'll receive both OpenType and TrueType formats in your download for your desktop computer. Webfont format is also available. (If you'd like to use these fonts as cast-metal letters for exterior, architectural purposes, visit the Gemini website to learn more about how you can find a signage retailer near you.)

Introducing Mobilla Serif Elegant typeface The Mobilla Serif typeface is an elegantly themed font that has a dynamic serif style. The details of the shape of the "Mobilla Serif Elegant typeface" are very smooth and flow to create unique and beautiful curves. Elegant Serif typefaces such as “Mobilla Serif Elegant typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Mobilla Serif Elegant typeface contains 785 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from Thin to Heavy. In the poster preview all the letters are in the Mobilla Serif Elegant typeface.

Introducing Nilota Serif Elegant typeface The Nilota Serif typeface is an elegantly themed font that has a dynamic serif style. The details of the shape of the "Nilota Serif Elegant typeface" are very smooth and flow to create unique and beautiful curves. Elegant Serif typefaces such as “Nilota Serif Elegant typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Nilota Serif Elegant typeface contains 618 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from Thin to Heavy. In the poster preview all the letters are in the Nilota Serif Elegant typeface.

Serway is a captivating typeface that seamlessly blends elegance with a touch of playfulness. This font's defining characteristic is its wavy stems, which give each character a dynamic and fluid appearance. The wavy stems gracefully meander, creating a harmonious rhythm that adds a unique visual appeal to any design. The wavy stems in Serway mimic the graceful movement of gentle waves, the bending of tall grasses in the wind, or the meandering path of a flowing river. These organic shapes infuse each character with a sense of fluidity and harmony. The sans serif structure of Serway maintains a contemporary and modern aesthetic. The clean lines and smooth curves of the letterforms offer a sense of simplicity and sophistication, perfectly complementing the nature-inspired wavy stems. Serway is an ideal choice for various design projects, including editorial design, packaging, headlines, web design, logo creation, and branding. Its wavy stems add a distinct touch that sets it apart from traditional sans serif fonts, making it perfect for designs that seek to capture attention and create a memorable visual impact.

Treatise was born in a notebook at the back of a boring lecture on immunology with the simple thought of “How can I make a serif more fun?” When writing a scientific treatise, there are not many options for making it enjoyable. However, some little quirks and fun features in the font can take the serious edge off the writing.... Treatise is a light and open serif with some design quirks, which give it a slightly calligraphic feel; a single -storey “a” and “g,” a visible stroke mark on the “o,” and a curved arm on the “k.” These features are subtle enough to fit into a paragraph of text but bold enough to give a title some character. The Treatise family includes a true italic and a heavy-struck style bold, and several OpenType features; standard and discretional ligatures, contextual alternatives, and different figure styles. The character coverage includes Basic Latin, Latin-1 Supplement, and Latin Extended-A and will support most Latin-alphabet languages, including languages with more exotic characters such as Icelandic and Maltese.

News Gothic No. 2 is an enhanced version of News Gothic produced by the D. Stempel AG type foundry in 1984. It added more weights to the News Gothic family than were available in other versions, increasing its use in contemporary design and communication. The lighter weights of the original News Gothic were designed by Morris Fuller Benton in 1908 for American Typefounders (ATF). News Gothic typeface is quite similar to Benton's other sans serifs from the early twentieth century, including Franklin Gothic and Lightline Gothic. The bold weights were added to the News Gothic scheme in 1958. The capital letters in News Gothic No. 2, just like those found in News Gothic, have a similar visual width to each other. The lowercase is compact and powerful. These design attributes contributed to Benton's strong handle on the sans serif genre, and for years his types have been popular for newspaper headlines and many other uses. Still a popular presence on the font charts, News Gothic has proven its ability to get the job done right.

Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) nevertheless, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allow enough flexibility for projects of great magnitude. Although leading with an independent family it maintains many of the characteristics of its homologous such as proportions, the “x” height, the construction based on air lines of the italic, ornaments and so on. These details show coherence with the serif version, and at the same time reinforce its personality. Being a multifunctional type, the “kerning” has been worked to function in small sizes as well as in larger ones such as holders. The contrast between weights, was optimized to be used in pairs (Light with Semibold, Regular with Bold and Medium with Black). Relato Sans is presented in 6 different weights, in Roman, Italic, Small Caps and Small Caps Italic with three different styles of numerals, Old style figures, Lining figures and Small Caps figures.

Wien Pro, the sans serif by Ekke Wolf. Typeface lovers looking for a modern, well-developed sans serif font with a touch of retro and warm, individual lettering will get excited about a new addition to the font market. The more than complete Wien Pro front comes in three styles and four different weights. In addition to the upright Wien Pro there is the Wien Pro Oblique with a moderate 6° slant and the Wien Pro Superoblique with an 18° slant. Available weights are light, regular, medium, bold and black. These fonts are equipped with extended Latin alphabet for Central and Eastern Europe and also Cyrillic and Greek alphabet. The set of characters includes nine different sets of numbers, plus its own set for the small caps, as well as alternative characters and groovy ligatures. In addition, all Wien Pro styles are also available as unicase with upper case and lower case x-height alignment. The style, metrics and proportions of Wien Pro combine perfectly with the Liebelei Pro and the script fonts of the Calafati Pro.