"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Making your brand visible, interesting and recognizable without having to get in the way of your customer’s experience is hard. It takes a lot of time, money and effort to make a clear brand. And maintaining it through all your customer touchpoints is even harder. Introducing, Marker Makers is a versatile marker font that takes inspiration from the boldness of graffiti and the playfulness of primary colors. It's a joy to use for any design project where you want your audience to pay attention, this is your go-to font and take your next project from good to WOW! Marker Makers comes with more than 400 glyphs, including punctuation, numbers and upper and lower-case letters you’ll have all the tools you need to create invigoratingly unique content. Whether it’s included on posters at trade shows or on the walls of any room in your office, no one will ever think it was boring! A Million Thanks Colllab Studio www.colllabstudio.com

Kate Slab Pro is a sophisticated and robust modern Slab Serif Typeface that works in a variety of design scenarios. It is designed to work in big attention grabbing headlines as well as in smaller text and even body text. The recognition value of Kate Slab Pro is its biggest asset in world of uniformity. Ranging from "100 Thin" all the way to "900 Black" makes Kate Slab Pro such an amazing and versatile font family that stands out. Kate Slab Pro doesn’t only work great in lifestyle and fashion related contexts but will also look amazing for restaurants, coffee shops or and other use cases that ask for character and identity. To fill all the gaps of a designer's needs, Kate Slab Pro comes with an italic style with every weight. Those italics are equipped with unique and real italic characters and will make you love it. Being a Slab Serif Kate Slab Pro manages to remind you of a classic Font Family with a modern and timeless approach that will make you happy for decades. Monday Type can’t wait to see the beautiful designs you are going to create with our Kate Slab Pro.

Aure Brash speaks with the cheeky inuendo of a sassy parrot. The quirky forms of this unique outline font engage the reader with a subtext of whimsy. Designed for its visual impact, Brash stands out as a title font and offers delightful possibilities for graphic imagery. Brash is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Brash is not designed for use in extended text. It shows its strength paired with strong text fonts such as Aure Jane or Aure Teddy. Used sparingly, Brash will add witty highlights to catch the reader's eye. Give Aure Brash a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

Hey there, looking for a typeface that screams “I’m spontaneous and creative, but also a little bit messy”? Look no further than Markerfield. This typeface is like the lovechild of a whiteboard and a permanent marker—it’s got that super-satisfying squeaky texture that you can almost feel in your fingers. But wait, there’s more! If your program supports OpenType ligatures (which, let’s be real, it totally should), Markerfield will automatically swap in custom pairings to make it look even more like you just scribbled this message on a whiteboard during a brainstorming session. And let’s not forget about the most important part—the message itself. With Markerfield, your words will have an instant aura of authenticity and urgency. It’s like, “Hey, I may not have spent hours crafting this message, but that’s because I’m a busy person with important things to do!” So if you want to inject some playfulness and spontaneity into your designs (or just make your coworkers think you spent all day brainstorming on the whiteboard), give Markerfield a try. 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.

Geometric, stylish, and not quite a stencil face: Glance Sans is the urban alter ego of Glance Slab—a strong-willed sans-serif with no frills but a few unique character traits. Glance Sans follows the design principle of nonjoining parts that made Glance Slab successful. Some strokes may not connect to their stems, creating visible gaps and thus, a dynamic impression of balance and movement. However, Glance Sans has a calmer appearance due to the lack of detached serifs. If Glance Slab’s home territory are large, crowded stadiums and massive sports events, Glance Sans prefers streetball courts, well-used skate parks, and underground clubs. It also adapts to urban work environments from finance to high-tech. Whenever a more toned-down look is called for while retaining the elegance of an athlete, Glance Sans is ready to roll. In the city environment, versatility is key. That’s why Glance Sans sports 7 weights as well as a complete set of italics. These are not just sloped romans but individually drawn letterforms, subtly referencing classic italic construction for more effective emphasis. Among the 600+ glyphs of Glance Sans, you’ll find goodies such as six sets of figures, circled numbers, circled arrows, and all kinds of currency symbols in two stylistic versions. Glance Sans is a great tool for industrial and high-tech branding, for wayfinding systems in contemporary or modernist architecture, for corporate identities in arts, crafts, medicine, culture, and education, and for all kinds of sports-themed design. Both members of the Glance superfamily are easily and effectively combinable; both are able to stand on their own feet. With its powerful italics, you might opt for Glance Sans as your text typeface and use Glance Slab for headlines. Or you set large, clean, display-sized lines in Glance Sans and spice them up with a bit of sportive Glance Slab. It’s up to you to decide how to bring out the best in both of them.

Did your client just say ‘can you make it pop’? Then you already know you got it on lock. Introducing: Midnight Diner! A multi-layered dimensional script font family featuring thin, bold, outline and shadow capabilities, with a left-leaning slant to boot. You can experiment with various layer combinations and colour! How fun is that? Being effortlessly casual, retro and elegant all in one, you can play it up or down to your liking – perfect for display graphics, logos, signages, packaging, lifestyle imagery, invitations and more. It features a diverse range of stylistic alternates, contextual alternates, and standard ligatures, ensuring that you’ve countless options to choose from for your design work. This font family is delicately crafted and well thought out with every little detail in mind, to ensure its ease and versatility when used! Midnight Diner is a collaboration between lettering artist and calligrapher, Leah Chong (www.leahdesign.sg) and typeface designer, Roland Huse (www.rolandhuse.com). Product Content: Midnight Diner Layered Font - Thin (TTF) Midnight Diner Layered Font - Bold (TTF) Midnight Diner Layered Font - Outline (TTF) Midnight Diner Layered Font - Shadow (TTF) Font Guide PDF https://drive.google.com/file/d/1KPSf-gGrhX3wyaImEAmlJICERNbxu2IN/view?usp=sharing Font Guide Youtube Video https://youtu.be/GtZ8E7Y7wnQ 6 Bonus SVGs (TTF): Midnight Diner SVG - Red Yellow Midnight Diner SVG - Black Pink Midnight Diner SVG - Blue Green Midnight Diner SVG - Orange Yellow Midnight Diner SVG - Purple Pink Midnight Diner SVG - Black White Font Features: Latin character set: Uppercase & Lowercase A - Z Stylistic Alternates Contextual Alternates Standard Ligatures Numerals, Currency Symbols & Punctuation Accented Characters To access all features of Midnight Diner such as stylistic alternates etc., it's highly recommended to use professional design software such as Adobe Illustrator, Adobe Photoshop, Adobe InDesign or Procreate (via the ‘add text' feature).

Say hello to 'Orange Flower'!! A bold and beautiful font with a brush and a lot of additions! I am very pleased to present 'Orange Flower' - a versatile and artistic set of handmade fonts with a brush! The font comes with alternative uppercase and lowercase characters. Thanks to the very clear contrast in weight and authentic style made with a brush, 'Orange Flower' is guaranteed to give your text an individual, individual feeling - ideal for logos, printed quotes, invitations, postcards, product packaging, headlines and everything your imagination is capable of, use in ink-based drawings or watercolors or independently in the form of bold handmade inscriptions!! :) The font comes with a lot of great features to keep you busy :) Each character has its own alternative version, which allows you to create unique words and layouts. There is also a second font brush 'Orange Flower Brush', which contains brush strokes, underscores and brush splashes. This gives you the opportunity to create an artistic image of your text, which will give your design a sloppy realistic look :) Both fonts have a large selection of characters, including ligatures. 'Orange Flower' includes ligatures and stylistic alternatives for those who have software with opentype support (for example, Photoshop/Illustrator). I really hope you enjoy it, and please feel free to write me a message if you have any questions or concerns! :) Font Features: - A-Z; a-z character set; - 1 language (English); - numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

During a visit to London in 2008 I fell in love with the square font used on the British car number plates. I was immediately inspired to start working on this font and have been developing it intermittently ever since. Several more trips to London and the project evolved before it finally took off and became Shentox. Despite the starting point being inspired by simple, everyday car plates, the font soon evolved into something fine and very rich in detail. Even though the square genre is very restrictive, Shentox is a highly legible contemporary font with a full range of weights, useable not only as a display family for headlines and posters, but as a distinct, clean font family for branding and general editorial use (Especially magazines). It has been carefully drawn paying extra attention to the details, high end finishes that makes Shentox a safe font for use in large scale work. For example, the curves of every individual corner have been adjusted character by character to avoid the common problems encountered with square fonts (Eg. darker corners between weights or a visually inconsistent radius between the Upper and Lowercases as a result of copy/paste). Shentox italic, which has a 12 degree slant, has been corrected to avoid distortion when slanted. The radius of the upper-right and lower-left corners are more pronounced, giving it a more fluid Italic feel. Shentox is available in Open Type format and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors. It supports Central and Eastern European languages. This type family consists of 14 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. Shentox PDF

Hai Folks! The Auratype is retro and classic typeface who inspired by the 60s - 80s designs with more unique explored style like swosh and alternate character. This font made from manual sketch with many many scratch then finished to font. Make your designs project with this font and extras illustration to give more superb. This font also suitable to design like logo, sticker, tees design, banner, poster, sign, display design, packaging and more superb designs! Enyoy with our product and feel free contact us for support! Features : Full set of Upper & Lowercase Character Number & Punctuation Swosh Alternate Extras Illustration Multilingual Language PUA encoded Opentype Features _________ ▼To using the feature OpenType Stylistic alternate (including swosh), you must use program that supports OpenType such as Adobe Illustrator CS, Adobe Indesign, Corel Draw X6-X7 and Microsoft Office 2010 or later versions. Additional way to access alternate/swoshes are using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or more program which has Pop Character. ▼For more information about accessing alternative, you can see on this link : http://adobe.ly/1m1fn4Y ✌ Get in touch with author https://www.instagram.com/wahyudwi.cc/ https://www.instagram.com/auratype/ https://www.behance.net/fontsfighters ❤ Thank you for purchasing our product and supporting us! We hope this font can be part of your designs project. If you have other queries, questions or issues, just feel free and have fun to contact us directly. We are glad if we can help you more! If you are happy with our product, please put your star into our design reviews, it was so fantastic moment for us. Thanks! :)

Looking for a typeface that perfectly captures the essence of industrial precision and futuristic design? Look no further than Zrnic. With its unique blend of boxy, plastic letterforms and strategically placed gaps, Zrnic delivers a stark, high-tech look that’s perfect for conveying your message with clarity and impact. Zrnic’s six weights and italics give you a range of options to choose from, allowing you to fine-tune the look and feel of your designs to perfectly match your needs. Whether you’re creating technical documentation, product manuals, or other materials that require a precise, professional look, Zrnic has got you covered. With Zrnic, you don’t have to worry about your message getting lost in the noise. Our unique design allows your text to stand out with crystal-clear precision, ensuring that your audience can quickly and easily understand your message. Zrnic’s gaps are strategically placed to reduce overall weight, giving you a clean, minimalistic look that’s perfect for modern designs. These gaps also provide increased impact, allowing your text to stand out and capture your audience’s attention. Zrnic is the ultimate tool for designers who want to convey the notion of technological precision with their designs. With its high-tech, industrial look and range of weights and italics, Zrnic is the perfect choice for technical documentation, product manuals, and other materials that demand a precise, professional look. 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.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Use this font to make lines, borders, patterns, backgrounds, unique bullets, or use it inline within text. Let your imagination explore the possibilities to combine these geometric shapes. Use letter spacing to connect the shapes in a continuous pattern, or space them apart horizontally. Stack them vertically and control their distance with leading (line spacing). Make fields of pattern and explore layering and opacity for color mixing. FormPattern Color Six takes inspiration from mosaic patterns seen in the south of Italy. It is easier to use this font to make patterns than to use drawings because you can control the size, color, and spacing from the type menu. It is also an effective way to make web graphics that are responsive with text. Using it is simple. As you type, forms will appear instead of letters. Each font in this collection is a colored set. The sets are primary, secondary, tertiary, analogous, dark, old world, vintage, greyscale, cool grey, and warm grey. There is a solid font that can be colored in the same way as regular fonts. The color fonts are accessed in the type menu where you would normally find the different weights or italics Most design software, such as Illustrator, InDesign, and Photoshop provide a glyphs palette where you can choose the precise form you want. It can work with the simplest text editors too. However, these may not support the color options. FormPattern Color Six is a vector-based and fully scalable SVG OpenType format. Color fonts are supported by Photoshop 2017, Illustrator 2018, and QuarkXPress 2018 (and later versions). This version of FormPattern Color Six is compatible with all FormPattern fonts by Tarallo Design. The display artwork shows it paired with the typeface Scanno.

Meet the new TT Trailers! The first version of TT Trailers was conceived as a font suitable for the film industry. The font harmoniously looks in posters, it is ideally suited for setting titles. However, the font has gained wide popularity among designers, and now you can find TT Trailers on the covers of magazines, on restaurant signs and on the main pages of websites. TT Trailers useful links: Specimen | Graphic presentation | Customization options Since 2019 when we released the first version, the TypeType studio team has released dozens of fonts, constantly improving our skills. In 2022, we decided to look at TT Trailers again, improving and expanding the font. In the new TT Trailers, we expanded the character set, corrected the contours, and improved the technical content. We have added extended Latin and Cyrillic characters, new symbols, and additional sets of numbers. The number of glyphs in one style has increased from 1081 to 1242. The inclined styles were long-awaited. The italics in TT Trailers are as eccentric as the upright fonts. The 15-degree tilt looks absolutely harmonious, complementing the character of the font family. We added italics to the variable font, so the new font changes along two axes at once, weight and slant. From the technical point of view, TT Trailers has become more modern and correct, and the number of OpenType features has increased from 29 to 42. We have added new alternative versions of glyphs and created a large number of localized features. The font retained all the qualities thanks to which designers fell in love with it, but became even more convenient. TT Trailers in the new version is suitable for titles and posters, for websites and printed materials. The font will embellish in restaurant and cafe signs and look beautiful in posters. There are 19 styles in TT Trailers: 9 upright, 9 italic and 1 variable font.

Take your reader far away to a tropical morning, where the inviting aroma of a fresh roast introduces them to a gentle breeze and the first, warm light of day. Take them there with Barcis. This organic face with its tall x-height and neo-humanist attributes shows its free spirit through unique terminals, calligraphy-inspired strokes, and a rich variety of OpenType alternates All insigne fonts are loaded with OpenType options. Barcis is geared up for pro typography. The font features many numeral sets, with fractions, old-style figures, superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Barcis also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Barcis supports around forty languages that utilize the Latin script, earning Barcis the pick for for multi-lingual publications and packaging. Barcis features three different widths and seven weights from exceptional Light-weight to dense Black. Each of these individual fonts offers its own authentic italics and alternate glyphs as well. With its high versatility, Barcis is without a doubt an amazing titling font, a great choice for journals, a solid option for web use, or even for clearly defining your mark in logotype. Bring Barcis into your library, and use it to carry your audience away.

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

Say hello to Ridasbin, a loyal friend in the world of design! With this classic serif font, you can feel the luxury of classic modernism in every project you work on. Whether you are creating posters, brochures, or other designs, Ridasbin will give you an elegant and unforgettable touch. The elegant and classy serif style on Ridasbin will make your designs look professional and classy. Each letter is designed with subtle details and perfect proportions, creating a timeless look. Not only that but Ridasbin is also equipped with special features such as ligatures and alternative characters that allow you to experiment with various interesting letter combinations. You also don’t need to worry about using various languages, because Ridasbin supports multilingualism. This means you can be creative and reach audiences from all over the world easily. With Ridasbin, you can present a stunning classic modernism charm in your designs. Display unforgettable elegance and charm, and make a lasting impression on your potential customers. Don’t miss the chance to own this beautiful classic serif font. Get ready for satisfaction and great design results with Ridasbin! What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

The most exciting new feature of DynaGotesk is the Vintage Italics stylistic set, which activates the decorative forms. It includes the looped "w", curved ascenders and descenders of many lowercase letters. These can significantly change the feel of a poster or invitation. DynaGrotesk may look like a revival of an old typeface, but it is not. It uses only some historical reminiscences, sharp edges and curved shapes, but it’s completely original design aimed at ease of use. The bigger the size, the more evident and pronounced are the spicy details. In smaller and even smallest sizes it’s appearance is qieter, very well suited even for long portions of text. DynaGrotesk was created in 1995 with the use of Multiple Master interpolation. But the MM fonts never achieved the desired application in industry, so designers returned back to single fonts. Over the following decades, the font was modified several times as an old house, and the present re-animation includes the Variable font format. Since its first release in the mid-nineties, it is widely used in all areas of graphic industry from small publishing to international corporate identity. The warm character of DynaGrotesk derives from early sans-serif typefaces, those which appeared before Helvetica. All 60 styles contain common OTF features like Small Caps, various sorts of figures, ligatures, Cyrillics, Greek, and full Latin diacritics. Perfect for branding systems and corporate identities, lettering, as well as cultural posters and catalogs.

Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. An individual Naskh style, Hassan cleverly combines elegant proportions, echoing an inscriptional Thuluth in its tall vertical stems and deeply rounded final jim and ain. The effect of verticality is enhanced by the tense, reined-in kerning strokes of ra and waw, the well-poised lam-alif, and the compactly drawn ligatures. The broad-band strokes of Hassan Bold smooth some of the angularity and relax the tension apparent in the Light. The traditional-style ligatures are rendered with an easy flow. Because of the economical character count, Hassan Light and Bold text may be headed by the compact titling styles (Hisham, Mariam) as well as designs like Ahmed or Kufi which answer to the inscriptional qualities of Hassan. In addition to other uses, Hassan would be particularly suited to document text-setting. Hassan’s two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold, respectively, inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The OpenType glyph ranges incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The fonts include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Introducing "AZN Knuckles Varsity" font by AthayaDZN. Revolutionizing a varsity slab serif, combining sharp and rounded edges, angled serif, and a variety of weights, fitting it into the modern scene. Equipped with 3 styles ( Defined, Regular, Stencil ) Use the Defined version if you are aiming for that slab serif look, just like the name suggested, it defines the modernized slab serif on each letter, giving it that retro look yet still in the modern scene. Especially on the light weight of this version, the slab serif is really prominent. Use the Regular Version if you are aiming for any type of design that you see this font fits especially the modern scene, just like how it's advertised. Use the Stencil version if you are aiming to make a statement, my favorite one is the Bold and Italic version of the Stencil if I was to make a statement, just like the preview where it says "Anarchy", the separated shapes of the letter combined with it's bold and slanted shape is perfect to make a strong statement. Language Support : Afrikaans, Albanian, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Luxembourgish, Norwegian, Portuguese, Romansh, Scottish Gaelic, Spanish, Swedish, Swiss German, Uzbek (Latin). And that's it for this font, thank you for purchasing the product, I wish you success on your projects. Please enjoy the font and let me know if you needed any help or if you have any questions -Athaya twitter.com/Athaya_DZN behance.net/athayadzn

This pearl by Kevin King was the best faux chinese font I've ever come over, and now it can be used for setting themed text and menus in many more languages! :) Kevin King says: "I have said before you know - I can if I want to (Stamp! Scowl!). Cod Chinese of the worst kind, I wanted a "Chinese" font for a project and couldn't find what I wanted. I painted this font with a Chinese brush and imported the resultant mess - it's been a while since I did any Chinese calligraphy - add that to the fact that I don't read or speak Chinese..." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Last year I went to visit a friend in Tuscany. One day he took me to meet his neighbor, a nice old man; Mr. Giulio. After giving us a tour of his small vineyard, he insisted us to try his production: a delicious Vernaccia! When his wife left the bottle containing the gold liquid on the table, I fell in love with the label: it was handwritten by herself, as if to highlight the "homemade" feature. As a tribute to this beautiful and hardworking couple, I asked permission to be inspired to make a typeface ... and here goes! The family Font Vernaccia... Vernaccia is a type family of four fonts: Regular, Bold, Condensed and Condensed Italic. Is a modern and casual calligraphy family font.
As an exclusively Open Type release, with 759 glyphs and 45 ornaments, it has several special alternatives for all letters with lots of possibility and an infinity of combinations. Most of the ornaments can be used alone, but really were especially designed to combine with the different glyphs. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, ornaments, and much more. These lovely fonts have already an extended character set to support Western European languages. Vernaccia was made to make your project more beautiful and attractive! Have fun with it!

Bauhaus is celebrating its centenary in this year. For the Bauhaus's 100th anniversary year, art and design museums and galleries around the world are hosting exhibitions and events. The publication of „Bauhaus Arabic“ font family is my contribution to celebrate this event. Bauhaus Arabic is a sans-serif font family designed by Naghi Naghashian in tree weights. Bauhaus Arabic Light, Bauhaus Arabic Medium and Bauhaus Arabic Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Bauhaus Arabic supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Bauhaus Arabic design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Bauhaus Arabic was developed for multiple languages and writing conventions. Bauhaus Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

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

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

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

German graphic designer Ralf Weissmantel created Boogie in 2003. Boogie is an ironic reference to pop art, and to disco lettering from the 1960s and 70s. Its round forms and outlines evoke the flashing, pulsating lights and music of that era. Shipping with five different, width-compatible fonts, the Boogie typeface has four different components: an outlined letterform is the base element, and forms the first font. Three additional fonts may be layered over top of this base, surrounding the first font with up to three bubble-outlines. In graphics applications like Adobe PhotoShop or Illustrator, these elements can each be assigned different colors. There is also a fifth font, which contains the base outlined letterform pre-surrounded by three additional outlines of the same color. Boogie works best in large headline, display and signage applications, where its forms can be clearly seen and enjoyed. When different colored layers are applied, text set in Boogie will gyrate and jive across the page! Weissmantel has worked as an art director for various international advertising agencies, and has led Corporate Design projects for firms such as Grey and MetaDesign. His design work, honored internationally, has been included in the typography collection of the Museum for Art and Trade in Hamburg. He is currently teaching graphic design at the Düsseldorf University of Applied Sciences. Weissmantel has been an associate of the United Designers Network since August 2002. Boogie received an Honorable Mention in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

Aure Nox inspires the chill whimsy of a haunted forest. The roughhewn forms of this decorative, sans-serif font engage the reader with a subtext of rakish charm. Surprisingly legible, Nox adds a bit of rebelious sass to text and titles, and a daring stance to astrological expressions and chartwheels. Nox is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Though Nox stands well on its own as a text font, the more traditional sans-serif forms of Aure Jane pair well as an innocuous foil to Nox's brazen presence. Give Aure Nox a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

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

I loved this monster font the second I saw it - it reminded me of Franquins Idées Noires... Reworking it and adding the missing glyphs and diacritics was quite time-consuming - but a lot of fun! Lots of details. The Lupineless variant is Lupine with eyes, decorations and stray hairs removed - which leaves just a very usable fuzzy font for your monster-related headline. Kevin King says: "I love fantasy writing and my favorite author is Terry Pratchett. In Reaper man, my favorite book, there is a werewolf character called Lupine, I wanted to make a font for him and for Ludmilla... It's a long story, it's a hairy font." All fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

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