Disruptor's Script is the alter ego of our previous project Gentlemen's Script. Unlike the Gentlemen's Script, the new font is an elegant rebel and defies traditions. The font is painted with a brush pen, which is especially noticeable in the characteristic shabbiness and different thicknesses of the strokes. While the Gentlemen's Script is an embodiment of a classic costume, dress shoes and an expensive watch, Disruptor's Script is a fashionable suit, sneakers, an iWatch and a tattoo that peeks from under the shirt. The font retained the incline, speed and overall sense of dynamics inherent in Gentlemen's Script, but got a bit more chaotic and unpredictable. This is especially noticeable in the newly added shabbiness, elongated extenders, a large number of contextual alternates and different ligatures. For some high-frequency letters (10 for the Latin alphabet and 10 for the Cyrillic alphabet), we painted alternative versions that are substituted in the word instead of the standard characters when following our preceding certain groups of letters. In addition, in the Disruptor's Script you can find functional ligatures, including some of the frequently occurring two- and three-letter combinations. All these solutions dilute the monotonous line of the set, add a bit of unpredictability to the font and a touch of chaos to inscriptions. To fully enjoy usage of the font, we recommend that you always keep the features contextual alternates (calt) and standard ligatures (liga) turned on. If you do not have access to applications that support OpenType features, it does not matter—even without these features you can use and enjoy our font!

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles. Award-winning type designer Rod McDonald was attracted to the simple, decisive forms of the original, but he felt the design needed to be refined and updated. ?One of my goals was to bring a modern typographic discipline to what was really an old phototypesetting font.? To achieve his goal, McDonald re-proportioned every character and balanced the delicate relationship between the curves and the straight strokes. He also added a number of alternate characters to extend the range of the design. ?I wanted to give designers a large enough character set so they wouldn't feel constrained in what they could do. I want them to be able to play with the fonts, not just set words.? McDonald enlarged the family from the single-weight original to five weights, each with a full suite of alternate characters.In 2015 Nadine Chahine designed matching arabic weights to this family.

TT Jenevers useful links: Specimen | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Jenevers: TT Jenevers is a modern serif with Dutch flavor. The font family features the characteristic details peculiar to Dutch serifs—these are the asymmetrical shape of serifs and an irregular slant of ovals. For example, in the letter “o” there is no slant, but it is present in p-q. In TT Jenevers, both lowercase and uppercase characters are of a large size, which makes it a rather display typeface. At the same time, the big half-ellipse of the lowercase characters does not allow the letters to stick, which allows the implementation of TT Jenevers in text arrays. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. TT Jenevers font family consists of 12 fonts (6 upright and 6 true Italics), each of which has more than 830 characters. The typefaces include small capitals for Cyrillic and Latin alphabets, 33 ligatures, standard and old-style figures, stylistic alternates, arrows, hands, and card suits. We have prepared two dissimilar stylistic sets, which allow changing the nature of TT Jenevers to a more hand-written one, or adding a futuristic touch to the typeface. FOLLOW US: Instagram | Facebook | Website TT Jenevers OpenType features: ordn, case, c2sc, smcp, frac, sups, sinf, numr, dnom, onum, tnum, pnum, lnum, liga, dlig, salt, ss01, ss02, zero. TT Jenevers language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Komi-Permyak, Komi-Zyrian, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luba-Kasai, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Maltese, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Talysh (lat), Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsakhur (Azerbaijan), Tsonga, Tswana, Turkish, Turkmen (lat), Udmurt, Ukrainian, Uyghur, Vastese, Vepsian, Volapük, Võro, Vunjo, Welsh, Wolof, Xhosa, Zaza, Zulu.

Introducing Telidon—the typeface that brings the nostalgic charm of old dot matrix printers to life. It’s a typeface that’s full of character, inspired by the clunky, mechanical printers of the 1980s that used to hum, buzz and chug away, as they churned out reams of perforated pages. Telidon’s unique dot-matrix appearance isn’t just a throwback to a bygone era, it’s a design element that can help your words stand out from the crowd. With its quick and simple flavor, Telidon will add a jolt of energy to your text, making it perfect for headlines, titles, and logos. This versatile typeface comes in three widths, three weights, and italics, giving you the freedom to create dynamic layouts and add emphasis where needed. Whether you’re designing a retro-inspired poster, a tech-forward website, or anything in between, Telidon is the font that can take your project to the next level. But wait, there’s more! Telidon also has a grungy companion—Telidon Ink—that can give your design a rough-and-tumble edge. So why not add a little dot-matrix magic to your designs and give Telidon a try? You won’t be disappointed! 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.

Unitext Variable Regular is a single font file that features one axis: Weight. TFor your convenience, the Weight axis has preset instances from Hairline to Black. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum.

The origin of the word Codswallop is uncertain, but it might have something to do with a 19th century English soft drink brewer named Hiram Codd. Codswallop is a beautiful hand drawn font. A little weird, a tad grotesque and a wee bit over the top, but fun and useful nonetheless.

Homazing is inspired by daily working at home, doing something amazing. It presents a flexible, dynamic, clean, and unique personality. Ideal for advertising, packaging, cards, quotes, and in others display settings. Homazing Font features OpenType and is packed with ligatures, stylistic sets, ornaments, and also supports most Eastern European characters.

Mister B is my go on a handmade organic font. The letters are clumsy, with the width and height somewhat off here and there. Nevertheless, the result is a naive and charming font, which is suitable for most things that has to do with kids toys, organic products or comics.

Enchanted is a unique contemporary font that mimics the style of handwriting and brush scripts; yet it is neither. Great for logos, captions and large bodies of text. Paragraphs set in Enchanted are easily read since the letters do not connect; aiding in its legibility. Enchanted contains seven stylistic alternates.

The famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

Shakila Script is a handwritten font created at the end of March 2021. It is a unique bold font with a pretty and charming casual style with many variants of beautiful swashes, as well as an alternative to capital letters. Shakila is a lovely and delicate font duo (script and sans serif), that exudes elegance and class. This font was particularly crafted for those who need a beautiful and refreshing look to their designs. Also, this font is perfect for branding projects, logo, product designs, invitation cards, wedding cards, stationery designs, advertisements, label, photography, blogging, social media or watermark. Key Features: - Multilingual Accents - Alternative capital letters - Stylistic Alternates up to 20 choices - Has a heart connected feature for a-z and A-Z letters - Available shortcut for Stylistic Alternate by simply adding "period" (.) and “number” (1-20) to each letter. - Has lots of ligatures so the letters connect well together - Has OpenType and PUA Encodes features. This font has a total of 885 glyphs, including capital letters, uppercase alternates, lowercase, numeral and punctuation, multilingual accents, beginning and ending swashes for lowercase, and includes a large number of stylistic alternates and heart swashes (for lowercase-lowercase and uppercase-uppercase). The advantage of the Shakila Script font compared to other fonts is that the alternative capital characters are in 1 font file, so it will make it easier for you to work. Therefore, you are free to choose it as you like, especially this font has the OpenType and PUA Encodes features which means you can access all of the glyphs and swashes with ease. As I mentioned earlier, Shakila Script has a large number of Stylistic Alternates features, up to 14 options for letter a-z and up to 20 options for letter b d h k l. In fact, there is also a swash feature in the form of a connected for the combination of each lowercase-lowercase and uppercase-uppercase letters. Interestingly, you can activate all Stylistic Alternates that are owned by each letter, just by typing; letter + period + number. For example: a.1 a.2 a.3 or b.1 b.2 b.3 and so on. As for activating the heart connected for each letter a-z or A-Z is quite easy. Namely by simply typing; letter + underscore + underscore + letter. For example: a__a or A__A and so on. Shakila Script is a Font Duo pack that pairs with Shakila Sans. The two were created at about the same time, but made in separate file packages. The reason I created this font duo is to make your projects more harmonious and unique. At the end of the sentence, Shakila Font Duo is a very authentic and amazing. If there are things you want to ask, don't hesitate to contact my email. For complete details, please visit my Behance profile. Alifinart Studio alifinart@gmail.com Thank you.

In 1903, faced with the welter of sanserif typefaces offered by ATF, Morris Fuller Benton designed News Gothic, which became a 20th-century standard. In 1995 Tobias Frere-Jones studied drawings in the Smithsonian and started a redesign. Cyrus Highsmith reviewed News Gothic, and with the Font Bureau studio expanded it into Benton Sans, a far-reaching new series, with matched weights and widths, offering performance well beyond the limits of the original; FB 1995-2012

Adenium Typeface inspired by the Shape of the Adenium Tree, Vintage Display typeface , Classic Taste with some Curly and Curved its Great flexible typeface. unique Stylictic Set and Beautiful Ligature, Really playful typeface to covering your Project, like Lettering, Website Interface, Bookcover or Book Content, Magazine cover, Branding, Poster, wedding invitations, Quotes Lettering, Logos, and more your project design. - Unique glyphs - Multilingual Characters - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - Ligature - SS01, SS02, SS03, SS04 inumoccatype Studio

The roundness of fresh Dewey leaves, the bending branches of canopy trees and the curvy luscious greens of dense forests; are all the things that inspire this clean display font. Its effortless and natural aesthetic makes it perfect for organic and luxurious brands. The strokes have a great contrast to give it a beautiful end to a long journey. The easy and elegant flow of the font brings one back right into the comforting arms of nature.

Spring is in the air! At least, where I live. My two pear trees are in bloom, bees are buzzing and everything turns a brighter shade of green. Time for a new and fresh font package with a spring-inspired name! Springwood is a handmade set of fonts, ranging from a fat display font to a messy script font. Use it for your freshest ideas, your coolest designs or just anything that needs a bit of springtime.

Sheet music for the title song from the 1933 Jean Harlow-Clark Gable film "Hold Your Man" has the movie title hand lettered in a dual line sans serif with Art Deco influences. This is now available as Dual Line Deco, and is available in both regular and oblique versions. The song itself was written by Arthur Freed and Nacio Herb Brown, whose vast catalog of musical compositions was tapped for the 1952 musical classic "Singing in the Rain".

PragmataPro™ is a condensed monospaced font optimized for screen, designed by Fabrizio Schiavi to be the ideal font for coding, math and engineering. More than 9000 characters optimized from 9pt to 48pt to guarantee the best possible readability. Designed for every programming language and context: Haskell, Agda, APL, Needle, IPA Phonetics, HTML 5 entities, all the Unicode arrows, Symbols for Legacy Computing, Git tree command line, Agnoster, Poker cards and all the functional programming languages.

Hand drawn typeface designed for one of our books. You can layer different styles over the background style to achieve lots of colorful effects. Use just one style to get a single color letter or set the fillOne and fillTwo over the background style to get a full, tree color mode. Mr Cyrk has only uppercase characters with alternate glyphs in place of lowercase letters. You can have one style for $18 or all of them for $30.

When reading text, the most informative parts of the written word for a human brain to identify, are the top and bottom edges of each word, and to a lesser degree, the leading and trailing edges. The overall shape has more useful info than the inner workings of each word. DT Enigmystic, is a display font family that gives you just that. The outer edge. At first glance, these letters don't look like standard letters, and yet, they are perfectly readable. And it is a 'somewhat' smart text, in that it will automatically complete the trailing edge of every word, whenever it sees a comma, period or space. Similarly, it will automatically complete the leading edge of every word following a space. When used as display test or as a heading, the first letter will need to be preceeded by a space, to achieve a full enclosed word outline. As with most of my fonts, do use Contextual Ligatures. This allows the letters to come alive. When generated here on this webpage, contextual ligatures are not turned on, and so the words do not appear completely closed at their beginnings and ends. But as can be seen in the poster images, these outlined words do automatically complete themselves when contextual ligatures are active.

Journeyman is an all caps layered display typeface in the sign painter tradition. It has normal width caps in lowercase position and a wider caps in uppercase position. Letters in lowercase position are slightly more rounded than those in uppercase position thus providing two styles. Journeyman supports languages with latin characters and ligatures as well as Greek and Cyrillic. The normal front layer is Line while Silhouette is usually put at the back for a three dimensional effect. Other layer arrangements are possible. The type works well for shop displays, poster work, menus, signage and other purposes where you want the type to have impact.

Vienna designer Viktor Solt has a love affair with handwriting. “Usually” he says “when I start with a specific calligraphic style I take some historic specimens and try to integrate their main features into my own handwriting.” Although there are hints of various 18th-century calligraphic styles in Ballerino it was not based on any historical model. The swash ascenders and descenders on the lowercase are all slightly different; this and the rough texture of the edges gives Ballerino a distinctly hand-written feel. The swash caps are meant to be used only in conjunction with the lowercase not to be combined with each other.

The last couple of years felt like I was living in a bad dream: I witnessed crazy leaders, climate change and now Covid. I usually name my fonts after things that affect me and this one is not different. Dreamworld is a font I made with a cheap marker pen I liberated from my kids’ pencil box (I will put it back, pinky promise…). It is a bit rough, but also very easy to read and distinctive enough to make your work stand out. Of course it comes with extensive language support (let me mention Vietnamese again…) and two sets of alternate glyphs, that cycle as you type.

Yagi is a serif typeface that contrasts with old-fashioned proportions creating a more defined texture than your usual sans-serif, and Yagi is elegant enough for fashion, art, and luxury; yet sincere enough for serious business. And at 2 styles, ready for complex typographic demands. When we started this project, we wanted to try drawing modern serifs with accurately verified shapes and detailed elaboration of each character, making your text look great both on paper and on screen. Yagi creates unique and organic characters, with different sets of styles, you can change the feel of your designs from more organic to more standard. Let your designs fly!

Many of my typefaces like Narziss and Mommie and also NewLibris or Verse are rather feminine. With Motora Sans I wanted to be the opposite. Masculine with a smell of gasoline and sweat. Technical and angular. Strong and self-confident. The weights are laid out in the usual way I create my families. 9 weights up to a strong UltraBold, all with italics. What was the inspiration for designing the font? A typeface you would long for in a men's magazine. What are its main characteristics and features? Legible constructed sans serif with German industrial and heritage. Usage recommendations: Corporate branding and magazines and other publications.

Nophine is a typeface conceived by Sulai Man specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print,Nophine shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, becomes evident when used for subheadings and headlines.

Dx Gaster is a high-contrast Serif family with a strong impact and elegant typeface. Dx Gaster offers a wide variety of combinations for you to create with. Dx Gasters multiple alternates and swashes can add extra spice to your designs. A Strong sharp typeface specially designed for beautiful titles. Dx Gaster comes with elegant style, strength, and contrasts, with features an extended Latin character set of 404 glyphs covering over 86 languages. Casta is ready to be like a top model on the design catwalk, making your projects look classic but contemporary, finely tuned but assertive, and elegant as the best luxury fashion.

Flyoika is a slab serif family with a fairly low x-height, long ascenders, and considerable contrast. The family has five weights, each with an italics and it can be used for either display or text. Flyoika was not designed to meet a particular need but rather out of curiosity. Years ago I had designed two slab serif families, FlyHigh and Euroika, that I recently noticed had a lot of similarities and I wondered what a blend of the two would look like. Several corresponding characters in the two families are considerably different and in cleaning up the results, I usually opted for simplicity. The name "Flyoika" reflects these origins.

Okay, we admit it! Comicraft's latest offering -- wrenched heavy-handedly from the pages of CHARLEY LOVES ROBOTS – is definitely a little awkward, maybe even loose-limbed and goofy. Those (usually) awfully nice chaps in the Comicraft studio are perhaps best known for their dexterity, their lightness of touch and nimbleness of finger rather than the kind of bungling, graceless, clumsy work evident in their latest digital alphabet. So, yes, MALADROIT is probably the most inept, cack-handed, undiplomatic addition to our catalogue ever submitted by freewheelin' John Roshell (formerly GAUCHE-ell) but might just possibly be the perfectly wrong font choice for your more bungling, inept, incompetent and hamfisted characters.

Saugatuck is a cap-height only display typeface inspired by nature. With it’s roots based on a few hand-drawn characters from nearly a century ago by the pen artist W.E. Dennis, Saugatuck now exists as a two-variant typeface. It contains all of the usual characters and accents, most of the math, plus some of the more esoteric characters. Each letter A-Z has a alternate in it’s associated lowercase character to allow you to have even more varied, natural-looking text. Works great for display purposes, seasonal designs, and times when you need to invoke a little bit of a less-structured, environmental feeling.

Gerdika is a typeface conceived by Sulai Man specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print,Gerdika shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, becomes evident when used for subheadings and headlines.