Alpineo is a display type family, optical mono linear and a bit squarish in nature. It has a distinct stroke-joint style, which is a prominent feature of its design. It has been designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer’s attention. The overall appearance of type is suitable in setting it as logotype, punchline, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Alpineo is designed by Aakash Soneri, founder Soneritype in the year 2017.

Acre is a geometric sans-serif type family of eight weights that's both inspired by and named after my great grandfather, Tex Acre. Tex was an artist and sign maker whose handcrafted signs illuminated the roadsides of the American Midwest and typified mid-century Americana. Acre is a tribute to him, his work, and many of my favorite early 20th century geometric typefaces. With eight weights ranging from Thin to Black, Acre is an extremely versatile family that can be used for display, text, or anything in between. Acre offers full European language support plus many OpenType features such as tabular and oldstyle figures.

A fairy tale, is a folklore genre that takes the form of a short story. Story tale, is a new type family for wonderous, romantic, magical and playful narratives brought to you by Resitenza. The 1970s were wild and whimsical times. Book covers from this time were iconic, innovative and enduring; bold colour and stylised pattern dominated. Story Tales forms were inspired by 70s books covers, and aims to encapsulate the zeitgeist of the time, but the typeface is by no means constrained to revivals of this era. There are nods to 60's flower power & psychedelia, chromatic type and decorative queues from the 1800s and the spirit of post-war era children's almanacks. It is also perfectly suited to inspiring curiosity, imagination and fantasy in today's audiences. Each of Story Tales 8 styles (4 upright and 4 italics) stack on top of one another giving the designer broad aesthetic range. This layering of styles and the ornamental illumination allows striking multi-coloured typography for your book covers, editorial and poster designs.

In 1066, William, duke of Normandy, was invading England. He was demanding the crown for himself, against King Harold the Saxon. He killed Harold and reached the crown at Hastings, the well-known battlefield. A few years later, in Bayeux (Normandy, French)was displayed a large tapestry (almost 70 m long) who was telling the story of the conquest. Along the tapestry was written a comment in Latin, using Roman capitals influenced a little by English or Scandinavian style (as it is visible in the Eth character). We have created the font, inspired from this design, adapted for contemporary users, making difference between U and V, I and J, which has not any relevance for ancient Latin scribes, and naturally with Thorn, Oslash, Lslash... and usual accented characters did not exist at the time. We also have reconstructed the K, German double s and Z, always using patterns of the time. We have scrupulously respected the poetic irregular and distressed original forms with two or three alternate for each characters, including reconstructed numerals.

Presenting the ✨Rollik Typeface✨ by alitdesign. Inspired by music posters of the 70s and 80s, the Rollik font was created in a calm and simple style but still gives it a uniquely retro and playful feel. Besides that, combined with a dynamic serif style makes the Rollik font more stylish and retro elegant, especially if the design to be made uses swash on alternative fonts for creativity, for example lettering or logotypes designed to make your design look cool and different. The Rollik font is very suitable for making designs with retro concepts, simple and playful designs, for example making magazine cover designs, music covers, YouTube thumbs, text headers, logotypes and so on with an elegant retort theme. 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 Rollik font has a total of 940 glyphs including symbol, multilingual and alternative glyphs. We really enjoyed the process of making the Rollik font, we hope you are also happy when using the Brolike font.

Forte e gentile, “strong and kind” is the motto of Abruzzo region located in central Italy on the Adriatic coast. As the region it’s named after, Abruzzo typeface is strong yet inviting with its sharp angular serifs and smooth transitions. Abruzzo is a display typeface with high contrast, large x-height and plenty of character. Abruzzo is equipped several OpenType features: Standard ligatures that take care of the collisions between f and other tall lowercase characters, and for more fun there is over 40 Discretionary ligatures including st, ch and plenty of more unconventional character combinations, such as fy, fr, rw, vi, and so on. See the full range in the specimen poster. On top of that Abruzzo has over 70 variants for the standard characters set in Swash, Stylistic and Titling Alternates. Abruzzo best used in stylish headlines, advertising, packages or as a logotype.

astie - Elegant Serif Font Unique, playful and versatile serif with 35+ ligatures and 50+ alternates can combine to get curves and beautiful shapes just in seconds. Type the words and Add the unique shapes from Bastie ornament to get a more stunning display. This font is suitable for many design forms, such as magazines, postcards, logos, DIY Projects, invitation cards, quotes, vintage look design, an old classic, the 60s, 70s, 80s, wedding projects and much more. We recommend using Adobe Illustrator or Photoshop. how to access alternate? Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs Supported Languages What's you get? - Unique Alternates - Multilingual Support - Works on PC & Mac - Simple Installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! - PUA Encoded Characters - Fully accessible without additional design software. Let me know if you any question:) Have a wonderful Day Say Studio

This script font was inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae [...], author Francesco Filfelo, circa 1509. The original font contains all lower case characters, except w, eth, thorn, lslash, oslash and so... and almost upper case. In addition, one set of small lombardic initials were also nearly complete. It take place instead of the Bold style (in only one package)offering a real and rare complete historical printing set... The original small "a" hight was 2,8 mm !, the upper case hight no more than nearly 5 mm, the initials hight almost 15 mm, covering nearly two lines. This font includes "long s", naturally, as typically medieval and also a few ligatures, but not any variants. We have entirely recreated some characters, upper, lower and initials, to fill gaps. It is used as variously as web-site titles, posters and fliers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, menus, certificates, as a very decorative, elegant and unusual font, besides its historical scrupulous reality... This font supports enlargement as well as small size.

Etruscan was the language of the Etruscan civilization, in Italy, in the ancient region of Etruria (modern Tuscany, western Umbria, northern Latium, Emilia-Romagna, Veneto, Lombardy and Campania). Etruscan influenced Latin but was eventually completely superseded by it. The Etruscans left around 13,000 inscriptions that have been found so far, only a small minority of which are of significant length; some bilingual inscriptions with texts also in Latin, Greek, or Phoenician; and a few dozen loanwords. Attested from 700 BC to AD 50, the relation of Etruscan to other languages has been a source of long-running speculation and study, with its being referred to at times as an isolate, one of the Tyrsenian languages, and a number of other less well-known theories. The consensus among linguists and Etruscologists is that Etruscan was a Pre–Indo-European,and a Paleo-European language and is closely related to the Raetic language spoken in the Alps, and to the Lemnian language, attested in a few inscriptions on Lemnos. Grammatically, the language is agglutinating, with nouns and verbs showing suffixed inflectional endings and gradation of vowels. Nouns show five cases, singular and plural numbers, with a gender distinction between animate and inanimate in pronouns. Etruscan appears to have had a cross-linguistically common phonological system, with four phonemic vowels and an apparent contrast between aspirated and unaspirated stops. The records of the language suggest that phonetic change took place over time, with the loss and then re-establishment of word-internal vowels, possibly due to the effect of Etruscan's word-initial stress. Etruscan religion influenced that of the Romans, and many of the few surviving Etruscan language artifacts are of votive or religious significance.

Say hello to VARIOUS! Completely unique and custom font with a 00s style, inspired by vintage and hand-painted retro signs :D Various is a font with a delightful retro touch perfect for capturing the essence of the 60s, 70s, 80s, 90s, and even Y2K designs! Its unique characteristics will transport you to those iconic eras, adding a nostalgic vibe to your creative projects. Various come in two versions - Regular and Outline. With two different style fonts, you can easily create eye-catching designs without any extra effort This font is perfect for a retro 00s theme and can be used for cover magazines, brochures, logos, headlines or quotes, stand-alone displays, and short paragraphs or content. Each font in the family is dynamic and authoritative on its own, making it perfect for any display project. What do you get? Various Various Outline Alternates and Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Let Various take you on a journey through time Enjoy your day! Dharmas Studio

DearPony is a sweet, warm, quirky, yet classy serif and signature script font duo. This charming combination offer a unique and elegant look that make it useful for various creative project. The serif's contain 240 glyphs with eight weight; Regular, Medium, Bold and Oblique with each matching oblique. It's contain language standard latin multilingual support.

Delve into the world of timelessness with Montaigne. With its blend of classic elements and contemporary design, this serif family offers a comprehensive selection of eight styles and their corresponding italics. Explore Montaigne's OpenType features, including Small Caps, OldStyle numerals, and a delightful array of Swash initials and Discretionary ligatures in the Italic styles.

Ross F. George, master of the Speedball pen, called this rather rugged typeface "Personality Script", which might be a suitable name if you had the personality of a porcupine. It does grab your attention, though! Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Addressotype Slab is the serifed cousin to Addressotype , a constructed, streamlined gaspipe design with gently rounded forms. Perfect for getting the right vintage look, but also solid on its own for modern branding and identity projects. And if you want to grab attention, layer in the extra deep drop shadow for a bold statement!

Fishmonger originated from a commission of two fonts for the corporate identity of a fishmonger shop. When sketching the elementary principles for the lettering, the idea for a modern, extensive font family with a large number of styles was born. The first step consisted of defining the range of widths and weights. Then the master design Medium Regular was completed. The next step was adjusting the Extra Condensed Thin, the Extra Condensed Bold, The Extra Extended Thin and the Extra Extended Bold weights, as they are the vertices of an imaginary square map of the face. This meant that, in order to achieve a harmonious result, the x and y axis needed to be defined. From top to bottom, from the widest to the most condensed cut, the proportions are linear. However, from light to black, the line curves gently, allowing lesser difference between the light cuts, and a dramatic one between the heavier cuts. To ensure the original parameters were respected each position on the vertex was checked against the Medium Regular. After sorting out the ideal set-up, the remaining characters of each of the weights were drawn, and the remaining cuts were interpolated according to the principles above. Fishmonger is a functional, clean design, free of any buoyant, ornamental shapes, almost minimalist. Maybe this is what lends the type family its unique appearance.

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

Terfens draws influence from chancery scripts, updating it for the twenty-first century. Terfens Contrast is derived from Terfens' DNA and retains its humanist tone. It’s tall x-height gives it a friendly but not informal feel. With Terfen Contrast, calligraphy-inspired letterforms are rendered with a high contrast nib, lending raw vitality and expressivity. This juxtaposition gives the letters a sense of firmness and energy, but also of heavenly, delicate beauty. Terfens is a full-service branding and packaging solution, containing a lot of personality, combining the passion of a broad nib pen with the beauty of a brush. Terfens is a "workhorse typeface" comprising 48 typefaces in three widths and eight weights. There are ligatures and swashes in all weights, as well as support for more than 72 languages. Another powerful typeface to add to your collection of eye-catching fonts. Terfens draws influence from chancery scripts, updating it for the twenty-first century. Terfens Contrast is derived from Terfens' DNA and retains its humanist tone. It’s tall x-height gives it a friendly but not informal feel. With Terfen Contrast, calligraphy-inspired letterforms are rendered with a high contrast nib, lending raw vitality and expressivity. This juxtaposition gives the letters a sense of firmness and energy, but also of heavenly, delicate beauty. Terfens is a full-service branding and packaging solution, containing a lot of personality, combining the passion of a broad nib pen with the beauty of a brush. Terfens is a "workhorse typeface" comprising 48 typefaces in three widths and eight weights. There are ligatures and swashes in all weights, as well as support for more than 72 languages. Another powerful typeface to add to your collection of eye-catching fonts. • Recommended uses: modern branding and logo design, powerful editorial design, exciting packaging, and a wide range of additional jobs. • 54 font styles, including eight weights, eight italics, and three widths. • Each weight has 500+ glyphs. Useful Opentype features include: Access All Alternates, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Numerators, Oldstyle Figures, Ordinals, Scientific Inferiors, Subscript and Superscript.

HD ARNIE is a unique little typeface. It has a combination of brutalist angles mixed with soft shapes and ink traps to create a truly unique viewing experience. The many alternates give you the flexibility and customisation to treat ARNIE as you wish and create a combination just right for you & your brand. ARNIE has many extras as well as Variable support to make this a must have font of 2022 (and beyond!).

A remixed variation, available in three weights, of the popular Talbot Type geometric sans Kessel 105 . The addition of occasional flourishes at the intersections of strokes, in both upper and lower case, adds character charm, making the font a perfect titling font to accompany Kessel 105, or a display font in its own right. Kessel 105 Remix features a comprehensive glyph set including a number of discretionary ligatures and accented characters for central European languages.

Luxus Brut breathes the spirit of hand lettered signage of the Fifties. It’s a formal script, inspired from a well concealed shop portal in Vienna/Austria. Large and distinctive capital letters, wide spacing as well as a low x-height make it an excellent choice for posters, magazine headlines, logotypes, branding and any design that requires a touch of luxury and sensuality. You might also have a look at the stylistically related Luxus Brut Sparkling.

The Generic Typeface Collection is a series of sans-serif typefaces inspired by the craftsmanship of graphic design, typesetting, and printing in the analogue era – before Adobe, Macintosh computers and desktop publishing – when dinosaurs ruled the earth. With the use of various typesetting apparatuses or dry transfer type, photo copiers, and shooting layouts and paste-ups to film, the printed results was not as exact, precise and predictable as it is today. When examining old prints, it is difficult not to like the way that characters in over- or underexposed film have a special type of vibe to them that is often sadly lost in today’s pursuit of total perfection. Encouraged by this, I saw a need for a collection of typefaces that are non-clinical and non-conformist, and some that are coarse, rough and distorted – errors that might come from poor exposure when put on film, enlargements from small point texts, or maybe quality loss from successive generations of photocopies. Or all of the above. This is an attempt to incorporate spirit and personality into a set of typefaces without losing distinction. You might call it a homage to non-perfection. I call it human. The Generic Typeface Collection consists of 11 fonts divided into four series. The three standard series – the Formal Release series, the Coarse Copy series, and the Rough Display series – all contain three fonts each. The Extra Splendor series contains a couple of shadow fonts for that little extra sparkle. Formal Release – Handcrafted & Clean The Formal Release series features sans-serif typefaces for everyday use. They are handcrafted and clean, human and uncomplicated. The Formal Release series contains three typefaces that add tons of personality to any text. G10 FR ‘Slim’ – a slightly under-exposed and clean typeface in a regular weight (228 glyphs - 1 alternate) G20 FR ‘Classic’ – a properly exposed clean typeface in a bold weight (228 glyphs - 1 alternate) G30 FR ‘Bulky’ – a heavily over-exposed clean typeface in an ultra weight (228 glyphs - 1 alternate) Coarse Copy – Dirty & Rough The Coarse Copy series features non-conformist typefaces that are worn and rough, maybe after going through that bad copier a few times too much. The Coarse Copy series contains three sans-serif typefaces that add tons of spirit to any text without compromising too much on legibility. Try them on in poster-sizes and everyone will know that you mean business. G40 CC ‘Slender’ – an under-exposed coarse typeface in a regular weight (228 glyphs - 1 alternate) G50 CC ‘Typic’ – a properly exposed coarse typeface in a bold weight (228 glyphs - 1 alternate) G60 CC ‘Huge’ – a heavily over-exposed coarse typeface in an ultra weight (228 glyphs - 1 alternate) Rough Display – Faded & Decorative The Rough Display series features attention-seeking decorative typefaces in three feature-packed fonts. Faded and gritty like the image distortion and degradation from successive generations of photocopies, they are eye-catching typefaces intended to stand out in bigger point sizes. Use these typefaces for signage, headlines and similar situations were a strong typographic statement is desired. We have packed no less than 1,334 alternate characters and 212 discretionary ligatures into this series for a greater chance of not having characters that look exactly the same more than once. G70 RD ‘Slinky’ – an under-exposed rough and decorative typeface in a regular weight (741 glyphs – 448 alternates – 66 discretionary ligatures) G80 RD ‘Standard’ – a properly-exposed rough and decorative typeface in a bold weight (748 glyphs – 448 alternates – 73 discretionary ligatures) G90 RD ‘Swollen’ – a heavily over-exposed rough and decorative typeface in an ultra weight (748 glyphs – 448 alternates – 73 discretionary ligatures) Extra Splendor – Sparkling & Extraordinary The Extra Splendor series features two shadow typefaces for that little extra sparkle. One clean shadow to be used with G20 FR ‘Classic’, and one rough shadow to be used with G80 RD ‘Standard’. Having the shadows separate from the main typeface adds another layer of expressiveness in that you can try out color combinations for that extra splendor. Tips for matching (applies to both the base font and the shadow font): Set the kerning to Metric, not optical. Increase tracking to accommodate for the shadows extra width. G25 ES ‘Classic Shadow’ – a clean shadow to be used with G20 FR ‘Classic’ (228 glyphs – 1 alternate) G85 ES ‘Standard Shadow’ – a rough shadow to be used with 80 RD ‘Standard’ (227 glyphs) OpenType features – alternate characters and discretionary ligatures – can be accessed by using OpenType friendly professional design applications, such as Adobe Illustrator, Adobe InDesign, and Adobe Photoshop.

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

Ventella is a beautifully nostalgic upper and lowercase typeface that works best as a focal display text (think logos, headers, pretty quotes, calls to action, etc.). Featuring an elegant upright serif, light and clean italic, this duo brings a splendid, clean visage to websites, logos, brand identities, quotes, and anything else you can think of! Ventella serif is a versatile font that gives your projects a modern and minimalist look. Ventella is a classy and supremely legible font that stands out in both large and small designs be it a display or body text. Ventella comes with adorable 89 quirky ligatures and alternates for a custom typography look. All duo fonts provide a full set of uppercase and lowercase letters, numerals, and punctuation.

Adelbrook is a dynamic serif typeface that keeps calm. It enriches text with the archaic structure of humanist type, because its characters arrange in a harmonious rhythm with a dynamic stroke, asymmetric serifs and stems that lean in the direction of reading. These characters have gravity and are firmly on the baseline. The tapered stems define a heaviness that end in emphasized foot serifs. Actually all the details are heftier the lower they are. This is particularly evident in a subtle vertical hairline variation, light or unapplied head serifs, and clipped upper dots. The clearness of the semi-serif italics with a brushy nature integrates perfectly in a subtle way. All these details result in a sophisticated text typeface with a sharp contemporary design.

Arto is a unique super-condensed typeface, ideal for branding projects and editorials headlines. The super tight kerning give this family a distinctive retro feel. The full family is a go to font for making projects distinctive, allowing projects to stand out. Arto Condensed has an extended character set to support Central and Eastern European as well as Western European language. Also available a variable version of the font.

It is a neat and friendly handwriting typeface with unadorned innocence. The tight handwriting gives off a cute atmosphere as if it were written by a young person. In the existing KINDERLAND, only Regular and Bold were introduced, but the Korean version of the font introduces two white weights. White weight can give a unique feel by saving only the border and not filling the typeface. This font contains Korean.

A remixed variation, available in three weights, of the popular Talbot Type geometric sans Kaleko 105 . The addition of occasional flourishes at the intersections of strokes, in both upper and lower case, adds character charm, making the font a perfect titling font to accompany Kaleko 105, or a display font in its own right. Kaleko 105 Remix features a comprehensive glyph set including accented characters for central European languages.

Get stylish with Distinct Style, a fashionable and contemporary pair of signature & sans fonts designed to perfectly compliment one another. With a fast-flowing script font and a two-weight modern sans serif, the Distinct Style duo offers typographic harmony for your professional design projects, including; logos, branding, magazines, blog posts, social media, advertisements & product designs. Distinct Style includes 4 font files, designed to work as perfect companions or simply as strong standalone typefaces; 1. Distinct Style Script • A classy fast-flowing signature font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Distinct Style Script Alt • This is a second version of Distinct Style Script, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Distinct Style Sans Light • A stylish, modern sans-serif font containing uppercase only characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Disticnt Style Script fonts. 3. Distinct Style Sans Bold • A bolder version of the Distinct Style Sans font. Add some contrast to your text by pairing this with the Sans Light version, or use at smaller sizes. Distinct Style Script contains 64 Ligatures, accessible by turning on 'Discretionary Ligatures' with any software supporting OpenType features. Fonts include multilingual support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Indonesian, Filipino, Malay.

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