Introducing Russell - An organic and expressive handwritten brush script font designed for versatility. It's legible; making it perfect for product packaging, editorial work, and poster design, and it oozes personality; great for branding, invitations, and more. This font packs a real punch with super duper textures and a ton of useful extras (that line is certainly getting copyrighted!) including custom catchwords, ink splatters, underlining brush strokes, and italics! Take a look below to see everything that's included. ---------------------- What's Inside? ---------------------- - Russell: The original Russell script font boasting a full glyph range with multilingual support. - Russell Alternative: An entirely new font with slightly different lowercase and uppercase letters - perfect for improving the handwritten aesthetic. - Russell Extras: A font full of useful extras (Swashes, strokes, and splatters) that look great with the Russell fonts. Simply select the 'Russell Extras' font and start typing. - Russell Catchwords: Just like the extras above, this font is packed with 23 bonus custom catchwords that beautifully complement the family. - Russell & Russell Alternative Italic: Both Russell and Russell Alternative have italic options included, opening up more design possibilities.

ITC Simran was created by the London designer Satwinder Sehmi in 1998. The Indian influence is recognizable at first glance and lends the font an exotic feel - at least to the western eye. Sehmi borrowed forms and feelings from northern Indian writing systems for this typeface. Both the upper and lowercase letters make use of the same lowercase forms, but the upperacse letters have the addition of a horizontal bar running over them at the ascender height. This feature is directly reminiscent of writing systems in northern India, and is ITC Simran's most distinguishing characteristic. But there were other influences as well: Sehmi was also inspired by uncial forms when designing this typeface. ITC Simran exhibits the typical look of writing with a broad-tipped pen, with its strong strokes, as well as characteristic letter forms, for example, the a or h. ITC Simran is a fascinating and harmonious symbiosis of a variety of influences from different cultures. This font is best used for headlines and short texts in point sizes of 12 and larger.

Johnny is the latest addition to the long line of popular psychedelic/hippy/funky art nouveau fonts representing the retro side of the Canada Type library. It is the digitization of a popular 1969 Phil Martin typeface that was known by two different names: Harem and Margit. The film type version had plenty of irregularities and quirks that made it seem like it was done in a hurry. In this digital version the errors have been corrected and the character set expanded to include international characters with built-in alternates, to be on par with what today's layout artists expect from a high quality font. This font saw a lot of use on record sleeves and music posters throughout the pre-disco part of the 1970s, which makes it a veteran of both the psychedelic and funk periods. This makes it the sharper, sturdier art nouveau contemporary personality of Canada Type's Tomato font. This font contains a very expanded character set that includes full support for Central, Eastern and Western European languages, as well as Baltic, Turkish, Esperanto, Greek, Cyrillic and Vietnamese.

Westblue is a captivating sans-serif display font. Crafted in bold style and intricate brushwork, this font is a versatile choice for designers seeking a perfect combination of impact and creativity. The characters in Westblue command attention with their substantial size and clean, sans-serif lines. What sets this font apart is the meticulously added brushed details, which bring an organic and handcrafted touch to each letter. These details create a sense of dynamism, making Westblue ideal for projects that demand both modernity and a hint of artistic flair. In addition, enjoy the features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Westblue fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Presenting the FRODUST typeface from alitdesign. The FRODUST font is designed with the concept of a slightly distorted display font in its body shape. This font has a modern serif style combined with elegant script-style letters that make the FRODUST font look different and unique from the fonts you have on your computer collection. FRODUST is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with unique and modern concepts. 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 "FORIDUST"contains 620 glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn’t have Glyphs panel, you can install additional swashes font files.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. TessieBugs contains shapes that resemble insects such as moths, ants, butterflies, and weevils. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Hinnual เป็นฟอนต์ที่ผสมผสานระหว่างรูปทรงสี่เหลี่ยมและทรงกลมเพื่อสร้างสไตล์ที่ไม่เหมือนใคร ชื่อมาจากคำไทย 2 คำ คือ Hin แปลว่า หิน และ Nual แปลว่า อ่อน ผสมผสานองค์ประกอบที่แข็งและอ่อนนี้สะท้อนให้เห็นในแบบอักษร ซึ่งมีเส้นที่สะอาดตาและเส้นคมซึ่งถูกทำให้อ่อนลงด้วยมุมโค้งมน ฟอนต์มีให้เลือกถึง 18 แบบ มีตัวเลือกหลากหลายให้คุณได้เลือกใช้ Hinnual เหมาะอย่างยิ่งสำหรับใช้ในพาดหัวและพาดหัวย่อย ซึ่งลักษณะที่โดดเด่นสามารถช่วยดึงดูดความสนใจของผู้อ่านได้ เส้นสายที่สะอาดตาและสไตล์ที่เป็นเอกลักษณ์ยังทำให้เป็นตัวเลือกที่ยอดเยี่ยมสำหรับแบรนด์ โลโก้ และงานออกแบบอื่นๆ ที่ต้องการภาพลักษณ์ที่น่าจดจำ โดยรวมแล้ว Hinnual เป็นฟอนต์อเนกประสงค์และสะดุดตาที่ผสมผสานองค์ประกอบทั้งความแข็งแกร่งและความนุ่มนวล การออกแบบที่เป็นเอกลักษณ์ทำให้เป็นตัวเลือกที่ยอดเยี่ยมสำหรับนักออกแบบที่ต้องการสร้างผลงานที่น่าจดจำ Hinnual is a font that combines the square and rounded shapes to create a unique visual style. Its name comes from two Thai words - Hin, which means stone, and Nual, which means soft. This juxtaposition of hard and soft elements is reflected in the font's design, which features clean, sharp lines softened by rounded corners. The font comes in 18 styles, providing a range of options for designers to choose from. Hinnual is particularly well-suited for use in headlines and sub-headlines, where its bold and distinctive appearance can help to grab the reader's attention. Its clean lines and unique style also make it a great choice for branding projects, logos, and other design elements that require a memorable. Overall, Hinnual is a versatile and eye-catching font that combines elements of both strength and softness. Its unique design make it an excellent choice for designers looking to create impactful visual content.

Love story is a display hairline typeface for use in big sizes and short texts. It’s inspired by different kinds of love and specially designed for Valentine’s day. Its soft curves and sweet style give it a lovely personality. Designed by Luciano Vergara and his wife Guisela Mendoza who has been studying ornaments since 2007 and has done her best for each project. You can see in her dingbats specially Printa and Abel designed for generate patterns. Now she integrated her passion to the ornament in a clean set which includes dingbats, ornaments and patterns. Luciano Vergara has designed very strong fonts with a particular work in the lines study and close to the geometry since 2005, getting a structure style, you can see in his fonts specially Regia and Kahlo. Now he integrated his study of lines, in a hairline font delicate, continuous and beautiful. In this story both designers have been merged their worlds creating a gorgeous product. This is a romantic type story, a love story.

Mosquito Formal, by Éric de Berranger, takes the original jaunty design of Mosquito and dresses it in a tuxedo. The stressed character strokes, simple, straightforward shapes, relatively large x-height, open counters and hint of Peignot are still there, but the cursive strokes and lively terminals have been replaced with traditional designs. The result is a more serious-and more sophisticated typeface. The idea," says Éric de Berranger, "was to assuage the drawing of Mosquito. To 'calm' it; and eliminate its idiosyncrasies while preserving character structure and general appearance." Although still distinctive, as Éric de Berranger puts it, "Mosquito Formal is more to be read than seen, it is more invisible and thus, more readable than my earlier design." He does, however, use both typefaces in his graphic design projects: Mosquito for headlines and in applications where the lively design is appropriate, and Mosquito Formal for those instances that require a quieter more sophisticated look. Mosquito Formal is available in three weights with complementary italic designs in addition to a suite of small caps and old style figures. "

Following the huge success of Legendary, Manuel Corradine proudly introduces his new ornamented script font. He remarks: “Designing Plebeya was a very tough and exhausting process, but learning to use it correctly and harnessing its whole potential is equally a job demanding great skill and dedication”. Plebeya is a font with an elegant and decorative style. Its calligraphic strokes are full of minute imperfections evoking real hand writing and provide it with a rustic and natural touch. Because of this we advise to preferably use it in the smaller sizes and only in larger ones when consciously you want to highlight its rustic characteristics. Plebeya is ideal for logos and short texts design, but can also be very useful in a wide variety of applications like wedding invitations, magazines, restaurant menus, advertisement and in any project requiring a touch of elegance and exclusivity. Its wide set of alternative ornated characters make Plebeya Pro an excellent tool for both the professional designer as well as any enthusiast wishing to elaborate a project with unique style.

WARNING! Roughed version is quite heavy to open. Highly recommended to install the font without previewing it first. GOODRICH come in 2 different styles, with same character; Bold & Strong, and can evoke a different emotions. It comes in both clean and rough styles in only Uppercase Latin characters. When choosing a font, it’s important to consider the visual theme of your design. A clean bold fonts can lend a more stronger tone to your design, making it a great choice for Logo or Title. On the other hand, a textured fonts can lend a more natural printed-looks, making them perfect for designing 70s-80s themed parties. It can be used for various design purposes ; Posters, Logos, Packaging, Books or Movie Titles. In summary, these fonts are versatile and can add a unique look to any design project. If you want to add a touch of nostalgia and elegance to your designs, these fonts were timeless asset. With plenty of vintage and retro design resources available, it’s easy to find the perfect ideas for your next project.

This typeface appears to be straight out of a science fiction movie thriller. Mingo is a slightly condensed, somewhat vain gothic with thick vertical strokes proudly tapering downward. Capitals which are normally completely round are now square inside with curving outside corners. Lowercase letters carry the same design traits. And, in the capital A and H, crossbars extend on both sides helping give the face a pronounced retro look. Mingo Gothic is a close cousin to Raleigh Gothic and is an excellent choice for book covers and large display settings. Small caps, fractions, and alternate characters have also been developed for greater layout versatility. Mingo Gothic Bold is now available in the OpenType format. Some new characters have been added to this OpenType version as stylistic alternates, historical forms, small caps, oldstyle figures, ornaments, and f-ligatures. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Delphi grew from a logotype Lily Feinberg produced using Greek-column-inspired letterforms. As that concept expanded to include more and more letters, the typeface had its beginnings. Intertwined, kinetic, and deliberate, Delphi carves itself onto the page and screen, encouraging variation and experimentation. The letterforms’ unique construction and predispostion for experimentation inspired two varying sets: Delphi Dio, comprised of two-line strokes, and Delphi Tria, built of both 2- and 3-line strokes. With a design as elaborate, yet tightly tuned as this, the desire to add more and more was irresistible—you'll see a number of stylistic, swash, and titling alternates (and even more hidden away in further stylistic sets). Because Dio and Tria could only hold so much, alternate cuts were produced to better organize your options: the Delphi Alt fonts feature certain letter styles and stylistic alternate sets distinct from those in Delphi. Delphi’s sophisticated, striking letterforms make it an ideal display face for use at large sizes, and with so many unique details and alternate letterforms, it’s simply fun to use.

Gothic in a contemporary style designed with a broad skeleton. Considering line alignment, we have aimed for a sense of harmony in both vertical and horizontal typesetting. フトコロ（画と画の間の空間）を広くデザインした現代的感覚のゴシック体。組み版時のライン揃えを考慮し、タテ組ヨコ組で違和感のない書体を目指しました。木版時代から手書きレタリングへと引き継がれてきた精美堂ゴシック体をデジタルフォントで再現。手書き文字を組んだ印象はそのままに、フトコロを広く現代風にアレンジしました。遠くからでも近くからでも読みやすい、目を引く見出し用ゴシックです。

TOBOGGAN | Utility Display Typeface Toboggan is a utility display typeface with classically influenced proportions, calligraphic elements, and sporting roots. With 9 weights, upright, and true italics, Toboggan comes in a total of 18 fonts. With flexibility from a crisp Thin weight to an imposing Super in both upright and italic, Toboggan thrives as a utility font spanning the columns of extended text, in artful editorial layouts, eye-catching motion graphics, or commanding headlines in a title role. First drafted around the frame of a perfect circle, Toboggan evolved by taking inspiration from the sweeping contours of the automotive world, expanding into wider proportions, and adopting an abrupt set of constructed features. Sturdy with the spirit of sport, Toboggan’s final form preserves a human connection through features of the written hand, while minimal contrast and its chopped terminals bring a decisive tone with clinical precision. Features: - Nine weights and true Italics - Multilingual support (Extended Latin - Includes Western European coverage and more) - OpenType features including small-caps, stylistic sets, contextual punctuation & more - Extensive numeral sets including stylistic sets, circled, and squared numbers

With its unique style, Blessed Love brings a touch of elegance and charm to your designs, regardless of the topic or purpose. Whether you're working on branding, invitations, posters, or any other creative endeavor, this font has the potential to elevate your creations and leave a lasting impression. Blessed Love features both uppercase and lowercase letterforms, offering versatility and allowing you to experiment with various typographic compositions. Complete with numbers, punctuation marks, and extensive multilingual support, this font ensures seamless integration into your design projects, catering to diverse audiences across the globe. One of the standout features of Blessed Love is its PUA Encoding, which provides easy access to special characters and glyphs. This empowers you to infuse your designs with unique flourishes and personalized touches, allowing your creativity to shine. Embrace the cool and friendly vibe of Blessed Love and unlock a world of design possibilities. With its extensive character set and exceptional versatility, this font is ready to enhance your projects and create a memorable visual experience.

Presenting the THEONORY typeface from alitdesign. THEONORY font is designed by combining an elegant script font with a simple and charming serif font style. This font has a modern serif style combined with elegant script-style letters that make the THEONORY font look different and unique from the fonts you have on your computer collection. THEONORY is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with unique and modern concepts. 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 "THEONORY"contains 622 glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Abdo Salem is the second version of the font FS_Salem which was designed by the type designer Abdulsamie Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Light, bold and black) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

Quit trudging through the thick with encumbering fonts, and spring to the front of the pack with the cutting edge sans serif, Haboro Sans. With nothing to clutter up your work, your editorial designs, websites, and software will be sharp and clear. While this hyperfamily is simple in character, it (like Haboro Slab and Haboro as well) provides you with plenty of options. Haboro Sans features simple geometric shapes to help you achieve that perfect effect wherever you use it. Enjoy the comforting reassurance that this multi-tool of a typeface family can work on most anything, including packaging, branding, web copy, and more. Take the simplicity of Haboro Sans a step farther with OpenType features, too. Haboro Sans contains special glyphs like Titling, Small Caps and Oldstyle figures that give your work just enough of a distinct touch. For even more options, use the entire Haboro hyperfamily to expand your capabilities. Put some simple class into your projects with the traditional look of Haboro Sans. Your layouts, websites, iPhone apps, advertising, and newspapers (to name just a few) will thank you.

Embrace the captivating elegance of LaRuja, a modern serif font that seamlessly blends feminine grace with unwavering strength. Its distinctively high contrast between horizontal and vertical lines creates a dynamic interplay of elegance and structure, making it a versatile choice for a wide range of applications. LaRuja's gracefully tapered terminals and subtly curved arches exude a sense of refined femininity, while its sturdy serifs and well-defined letterforms project an unyielding strength. This unique balance of characteristics makes LaRuja the ideal choice for projects that demand both beauty and substance. LaRuja's extensive language support, encompassing over 90 languages, makes it a global font that can be effortlessly adapted to diverse cultural contexts. From fashion magazines and branding materials to websites and marketing campaigns, LaRuja seamlessly conveys your message across borders. LaRuja's comprehensive weight system, ranging from Thin to Black, enables you to tailor the font's appearance to suit the specific needs of your project. The lighter weights, such as Thin and Light, exude elegance and sophistication, while the heavier weights, such as Semibold and Black, project authority and impact. Happy creating everyone!

Brave Hunter is a meticulously designed modern serif font that aims to elevate the professional and luxurious look of your design projects. Its clean and elegant style makes it a perfect fit for headlines, logos, and branding. This font comes in both regular and italic variants, allowing you to mix and match them to create a consistent and coherent look. With its unique and memorable characters, Brave Hunter strengthens your brand identity and conveys a professional and trustworthy impression. With high quality and comprehensive OpenType features, Brave Hunter offers flexibility in design and ensures consistent quality output across various media. Whether you're looking for a font for web design, print, or social media, Brave Hunter is ready to help you enhance the quality of your design. With Brave Hunter font, you can create elegant, professional, and upscale designs that will enhance your brand image and make it more trustworthy. Don't hesitate to choose Brave Hunter for any of your design projects that require a modern and professional serif font.

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.

A completely isolated letters typeface design with an overall Hebrew look and feel. Glyphs were designed with an emphasis on isolation and vertical feel with a visual connectivity measure to help easy reading. The Ibrani (Arabic for Hebraic) font family has two members, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Ibrani employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Ibrani includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Developed from an earlier sans serif font called Mechanihan.

Light and flexible, slightly retro, casual and readable, Hoofer combines 28 brush script, mono line script and sans-serif styles with ornaments into one Mega-Family. The different styles of the Hoofer Mega-family have been chosen to work together and to harmonize in a pleasing way. The Hoofer Mega-Family of fonts can be divided into three sub-families: Hoofer BRUSH subfamily: An eclectic group of five fonts. These are mainly joined scripts. Hoofer LINE subfamily: Seven mono-line scripts with joined letters in a number of weights, widths and styles. Hoofer SANS subfamily: Sixteen casual, Sans-Serif fonts. They are very readable and in a variety of weights & styles The mood of the Hoofer mega-family is light and flexible, slightly retro, casual and readable. It combines script and many sans-serif styles with ornaments into one Mega-Family. The different styles of the Hoofer Mega-family have been chosen to work together and to harmonize in a pleasing way. The Brush Sub-Family is designed for titling, packaging and display purposes, The Line Sub-Family can also be used for titling, packaging and display, however, it is less “showy”, and conveys an air of informality. The Sans Sub-Family is designed to shine as sub-heads and as body text. The wide range of Hoofline styles gives you, the designer, great flexibility in creating just the mood or impression that you want. Most of the fonts can use one or more OpenType Features. These can be accessed in a number of ways. The reason for this is that the major software producers provide different (and often conflicting) ways of accessing OpenType Features. In some cases such software manufacturers provide NO way of accessing certain OpenType Features. We have tried to remedy this by providing a highly flexible family of fonts. OPENTYPE (these OpenType features are only available in the “otf” fonts and not in the “ttf” fonts.) OpenType features that Hoofer makes use of are: Swashes (Word-Begin and Word-End Features); Alternate Numerals; and True Small Caps. ORNAMENTS In addition the Hoofer family has a font containing 94 ornaments. ALTERNATE NUMERALS You can access two sets of figures (numbers) in Hoofer Sans fonts. Both sets are tabular and lining but they differ in the height (but not the width) of the figures. The height of the alternate figures has been chosen so that they are compatible with the small caps. However, these alternate figures are available in ALL Hoofer Sans fonts, whether they feature small cap fonts or not. Hoofer has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Opentype features include automatic replacement of some characters and discretionary replacement of stylistic alternatives.

You may be familiar with a caps and small caps type called Cruickshank. In Germany the same face was called Eureka. We took the small caps, which are not so overblown as the caps, and designed a lowercase to harmonize with it.

Tiler JNL is a novelty font with geometric styling. Its use can be as diverse as an ad for wall or floor tile to conveying a modular feel within a futuristic setting to signage on the wall of an old-time subway station.

This font was inspired on graffiti texts, sentences of street walls. The intention it's to give an style of old school words spreaded on some walls around the world. This can be cool for an design of a poster, headlines and so on.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. There are many variants of this face and its uses are many, this a modified version lacking the teardrop or ball terminals on a, c, f, g, j, r, f, y.

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing &/or using &/or distributing the fonts the buyer user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agree to (1) indemnify & hold harmless the foundry, for any consequential, incidental, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties (2) not use the fonts to assist in design of, or be incorporated into, non-software displays

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing &/or using &/or distributing the fonts the buyer user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agree to (1) indemnify & hold harmless the foundry, for any consequential, incidental, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties (2) not use the fonts to assist in design of, or be incorporated into, non-software displays

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing &/or using &/or distributing the fonts the buyer user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agree to (1) indemnify & hold harmless the foundry, for any consequential, incidental, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties (2) not use the fonts to assist in design of, or be incorporated into, non-software displays

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing &/or using &/or distributing the fonts the buyer user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agree to (1) indemnify & hold harmless the foundry, for any consequential, incidental, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties (2) not use the fonts to assist in design of, or be incorporated into, non-software displays

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing &/or using &/or distributing the fonts the buyer user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agree to (1) indemnify & hold harmless the foundry, for any consequential, incidental, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties (2) not use the fonts to assist in design of, or be incorporated into, non-software displays.

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing &/or using &/or distributing the fonts the buyer user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agree to (1) indemnify & hold harmless the foundry, for any consequential, incidental, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties (2) not use the fonts to assist in design of, or be incorporated into, non-software displays

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing and/or using and/or distributing the font, the buyer, user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agrees to (1) indemnify and hold harmless the font foundry and neither the font foundry nor distributor is responsible to the buyer or user or any other party for any consequential, incidental, special, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings or expected savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties, (2) not use the fonts to assist in design of, or be incorporated into, non-software displays.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.