The font Steamfunk is based on Steampunk. A form of science fiction that couples Victorian era style with futuristic devices operated by early industrial age technology. Each Steamfunk letter is constructed in two symbolic parts. A thick stroke, for the machine’s outer shell, and a second, wire-like, stroke for that machine's delicate inner workings. The result is a look that is Steampunk in appearance, without it being exclusively so. Steamfunk has a glyph count of 398 and supports the following languages; Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu.

Pegasus scrapes the DNA of a great twentieth century painter who scattered text across his work like no other… not any kind of facsimile, but tough, playful, adaptable display type forged from the bones of a unique writing hand. Three weights - Skinny, Domestic and Peso - each offer five alternates for each letter, three for each numeral and multiple versions of many punctuation and other symbols. Letters are uppercase only with the lowercase providing one of the alternate forms of each letter… with OpenType Contextual Alternates switched on, you get automatic variation between the two… and you can manually throw in wilder variations from the remaining alternates. Some repeated punctuation - periods, question marks, etc. - are automatically varied too. OpenType Stylistic Set 1 switches to a rowdier selection from the alternates… Set 2 flips all the E’s to distinctive ‘skeleton’ alternates… Set 3 introduces automatic variation into numerals. Save some $$$ by purchasing the Whole Livery Line - all three weights at a nice discount... or, if you're really hurting, Cheapskate offers just two alternates for each letter and a single set of numerals.

The Siseriff family of types contains nine different styles, which were developed by the master Swedish typographer Bo Berndal in 2002. Siseriff is a contemporary slab serif face. Except for the Siseriff Black weight, all of the letters display a slightly condensed appearance that is coupled with a relatively uniform width throughout the alphabet. Siseriff's nine styles are distributed across five weights (Light, Regular, Semi Bold, Bold and Black). The Italic companions for these styles (Siseriff Black does not have an italic companion) are true italics. These redrawn italics add a higher degree of differentiation from the Roman weights than could be achieved with obliques alone. Many common Slab Serif families (e.g., Serifa) do not offer this degree of differentiation. This variety makes Siseriff the perfect choice for journalistic and editorial work, where a good hierarchy may be achieved solely by relying on the various weights available, and their italics. All nine styles of the Siseriff family are part of the Take Type 5 collection from Linotype GmbH."

The master of the dancing brush, Angel Koziupa, and the node-obsessed perfectionist, Alejandro Paul, offer up another bucket of fun with Malambo. This time Koziupa allows his brush to jitter one whole millimeter, and Paul digitizes with two eyes instead of his usual three. Follow your heart, but consume an ounce of peroxide first. Full of energy and cheeky mischief, Malambo tells the eye amusing stories of mirrorless shaving accidents, wine mistakenly poured over the morning cereal, and someone who trips over his own shadow on the dance floor, yet keeps on dancing. And dancing is what this typeface is all about. Malambo is a traditional Argentine dance performed by the gauchos (the Argentine equivalent of 19th century North American cowboys?). The gauchos are still around in the less than touristic areas of Argentina. And although they dance quite passionately and make the heartiest parrillas, most of them probably don't know what a font is. But you know, and we know. And that's something. Malambo was selected as the Best in show display font at the Biennial Letras Latinas.

Isabel Condensed and Isabel were made out of necessity to create a new font for children and teenagers, that could be enough friendly and versatile for text in words or even easy-to-read long texts. The purpose of Isabel is to combine all the nice and friendly features of the simple letters that the teachers teach to the pupils at primary school, as they starting to learn to read, together with the normal editorial fonts we read every day. In this way it generates a very joyful serif font, or even friendly font, with some conservative aspects. In other words, Isabel is a font that, despite of being a “classic features” typography, is proud to show its innocent and ingenuous elements, this gives to the font a new point of view. The family is composed of 3 parts: the regular version, the italic version and the unicase version. Each one of them has 5 weights. The italic version has 825 characters; the regular and unicase have 739 and are composed for 220 latin languages, plus cyrilic.

Linotype Mega is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The fun schrift of German designer Till F. Teenck is available in three weights whose names are word plays in themselves. Mega in (which we hope the font will be) contains relatively light, somewhat irregularly-drawn characters which look as though they were printed by hand and the characters are set rather far apart from each other. This weight is good for short and middle length texts in point sizes of 10 and larger. Mega normal is anything but. The characters are the outline forms of Mega in and their larger width reduces the distance between them. This weight is generally a headline font. Mega out is a very heavy weight and is the filled-in version of Mega normal. The characters flow into each other and look almost like silhouettes. The reduced legibility makes this font suitable exclusively for headlines in larger point sizes.

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.

Abdo Rajab is the second version of the font FS Rajab which was designed by the type designer Abdulsamiea 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 (Regular, light and bold) 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.

Welcome fashionistas, we have designed a type family based on fashion and current trends. Trendy, the new font of our studio follows the same design line that represents us, processes with brush lettering, variety of characters, OpenType programming and a special touch that reflects a boho chic style. The soul of Trendy is inspired in the logotype of one of the most influential type foundries around the world. Because of its great contribution in graphic design we have decided to pay tribute by expressing our gratitude for being an icon in the design world, the most recognized type designers of the last years have been part of that type foundry and for being source of inspiration for new designers. Trendy represents a fashion house, a place that breathes fashion, there are inside 5 determining variables for designing time: Regular, Bold, Black, Display & Stencil. Discover this new way to see the glamour world all include in a type family. To know more about our new project, Trendy, visit our web site www.estudiocalderon.co and our portafolio in Behance.

The Core Sans N Family is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Gilam is a sans serif font with semi-condensed proportions. The typeface was based on the famous DIN but combines its popular neo-grotesque look with characteristics, such as the pointed edges in the “W” and “M” as well as the outward cut terminals, which gives a distinctive look to the modern geometric typeface. The complete set of 9 weights plus italics gives to designers the absolute freedom to create anything. Perfect layouts with blocks of text, headlines, motion graphics, logos, apps, and websites are just part of the intended usage of this versatile typeface. Features: • 765 glyphs in 18 styles; • Extended Latin, Cyrillic and Greek; • Geometric forms and low contrast; • Prominent x-height which makes it legible in a text; • Perfect for headlines and logos; • Suitable for web, print, motion graphics etc. • Semi-condensed proportion; • Advanced typographical support and OpenType features including case-sensitive forms, fractions, superscript and subscript characters, and stylistic alternates; • Complete set of figures - old style and lining figures, which come with proportional and tabular variation; Gilam means “joy of people” so that you can enjoy it!

Say hello to Retro Mango! The font that's as chunky as it is funky! Retro Mango is all about playful, bold vibes, with a dash of cuteness that's hard to resist, thanks to its soft corners. This font is like a friendly face you just want to hug, and it brings that fun-loving spirit to your designs :D Plus, you get three family styles to choose from: Regular, Bold, and Extra Bold to helps to create stunning logos, quotes, posts, blog posts, branding projects, magazine imagery, wedding invitations, and much more. What's Included? Retro Mango Main File Regular, Bold and Extra Bold version Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thank you Dharmas Studio

Harri –“stone” in Basque language– is a display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. This idiosyncratic lettering style, very often used as an identity signifier, evolved from ancient inscriptions carved on gravestones which can still be found in the French part of the Basque Country (Behe Nafarroa, Lapurdi and Zuberoa).Harri takes some of its more significant features from those engraved letter forms, but also from the current overemphasized shapes derived from them, while keeping in sight their antecessors: the Romanesque inscriptions and ultimately the Roman Capitals. Gerard Unger once said “the black version of a font is a caricature of the regular”. This may explain how the odd heavy shapes in use in the Basque Country today might have evolved from their engraved roots, which are already an interpretation of Romanesque and Roman letter forms. This evolution is echoed in Harri through its weights, from the clean formal Roman-inspired light to the extreme expressive Basque-style extra bold.

CF Cozyscript is an even weighted connecting script. Created in the spirit of the Old Grade School cursive chart seen above the blackboard in the front of the classroom. Giving students a constant visual reference of the smooth flow of Caps and Lower case script. Neither formal nor casual but a combination of both styles. Cozyscript is currently available in 3 styles: Light, Medium & Rounded. The Light & Medium styles are best suited for Invitations, Notes, Advertising, Personal Letters, and Sensitive Subjects such as Movie Titles, Biographies, Wedding paraphernalia, etc. The Light & Medium Glyphs finish in squared-off ends, whereas the Rounded version is slightly bolder than the Medium version with rounded ends resembling a tubular look. The Rounded version lends itself to effective use in Sports, Music, and Advertising, Graphics, Signage, Branding, Neon effects, Logos, Titles, and Packaging. With over 300 glyphs applicable in over 100 languages, Cozyscript is available for use! Cozyscript is CozyFonts Foundry's 17th Font Family released and 2nd script font by Tom (Cozy) Nikosey, California Designer.

Centro Slab Press: Specimen Manual PDF Ever since its first release, Centro Slab has been particularly popular with corporate applications, branding and print media. The new Centro Slab Press version was redesigned with narrower proportions which are better suited for publications such as magazines and newspapers as well as web applications. Centro Slab Press is a very clean and legible typeface even at heavier weights, a characteristic which is not often seen among slab typefaces. This is part due to the fact that Centro Slab Press is not overpowered by clumsy serifs. Instead it incorporates semi-slabs which provide comfortable reading without compromising its modern profile. The italics are narrower than the romans and incorporate beautiful cursive characteristics. Each style consists of 659 glyphs with several opentype features and an extended set of characters which support more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet. The family is composed of 16 styles from ExtraThin to UltraBlack along with their italics. All weights were meticulously hinted for excellent display performance on the web.

Turn the page to the future and leave all the past behind. It’s a new age and you will move the cogs of the world forward! There is no need to worry or fear, the Claston Script will pave the way for you. With its clean script-type design and curved indentations, this font will take your projects to the next level! Move forward with elegance and bring your audiences to where your vision is: the future. It might take some time to get them there, but that’s okay! You have the perspective, the frame of mind, and most importantly the attitude to wrap it all together into a neat project! The Claston Script aims to bring out a modern and stylish view to what you make. It fits right in with your designs, whatever it is! It’s beautiful without trying too hard, it’s gorgeous without being apologetic, it’s brave in the face of uncertainty, these all represent you. Easily connect with your urban and forward thinking audience with this script and blow their minds!

The Stempel family consists of two fonts; each made to look like a set of block stamps. Each letter appears inside its own roughly drawn square. Stempel One's letters are very simple form/counterform objects. Stempel Two's forms are more ornate: each square stamp has a thin border inside of it, and then the individual letterforms have been knocked-out, so that the colored area depicts the counters around the letters rather than the letters themselves. As a line of text is typed, a box appears for each letter entered, and all of the boxes slightly nudge against each other to form the line. The Stempel fonts have the appearance of a hand-made quality to them. Their forms appear too random, too delicate, and too thought out to have been made on a machine. Using these fonts will add a nice warm, linoleum-cut touch to your work. Both Stempel One and Stempel Two were designed by German designer Martina Balke in 2002, and are part of the Take Type 5 collection from Linotype GmbH."

Julia Child once said: the secret to great french cooking is butter, butter, butter. Thus, we present to you Manteiga - butter in Portuguese! - a typeface for heart-melting, word-spreading goodness. The idea we had was to play with brush lettering - a style we love - and go as far as we can with the shapes of the letters while finding balance between positive and negative space. We wanted biiiig personality. And small inconsistencies - the ones that add texture and life to lettering. We left extensive OpenType features and technical stuff aside for a moment, adding later only what we thought was necessary, like different shapes for the Q, a and g - for example. All caps setting was something we wanted from the beginning. In text case, the x-height is rather short for a brush script, and this lends a quirky voice. Spacing is ultra tiiiiight so don’t go too small, but make it as big as you want! Ah! And there are some fun dingbats thrown in for good measure.

This typeface was inspired by the rough surroundings of a modern city and reflects the contradicting nature of an emerging global youth culture. Ever since its first release—back in late 1999— it is constantly on our ‘most wanted’ list and has been part of numerous product campaigns. Music, mobile telephony, food and beverages, politics, you name it. Coca-Cola used it, José Cuervo used it for about 3 years. The new ‘Pro’ version goes one step ahead. You may now capture the essence of the younger generation in every major European language. PF Fuel has been extended with the full array of Cyrillic characters as well as matching frames for this extra stamped look. Furthermore there more alternate characters than ever. Create a custom look, when same characters sit close, or one next to the other. You may find these useful—alternate characters either in the lowercase positions, or access them through the ‘stylistic alternates’ OpenType Pro feature. If you need some extra fuel, this is where to get it!

The thing is that many sans-serif typefaces are usually intended for universal usage. But sometimes faces that work fine in body text look not so good in large point sizes for display purposes when all the contrast in non-contrast sans-serif, or ink traps, become visible to the naked eye. Every designer solves this problem in his own way. We offer a drastic solution in our Stem: a sans-serif with optical sizing. The first part of the type family, Stem Display, is for use in largest point sizes, from 36 pt indefinitely. Stem Display consists of 12 faces of widths from Hairline to Bold, and it has true italics. The development of Stem type family will include Stem Text for body text and “traditional”, universal use, and Stem Caption for small point sizes. Stem is a geometric sans-serif with semi-closed aperture, large x-height and modern proportions of uppercase letters, like in famous Avenir and Gotham. Its important feature is a professionally designed and carefully tested Cyrillic glyph set.

Hello everyone, I would like to introduce my newest font Merry Bright Script is a beautiful modern calligraphy typeface, I hope you will be interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it. contains a full set of lowercase and uppercase letters, a wide variety of punctuation marks, numbers, and multilingual support. font also contains a lot ligatures and contains many alternative Style Sets such as the stroke alternative of the heart to combine with two words, for example: Ashley-Haston. You can see an example in the image above. Merry Bright is perfect for today's emerging market design, this font has a stylish, trendy, natural and soft font, with this font you can take advantage of any opportunity is a great way to highlight the celebration the best of parties, because this font will be an advocate for the cause such as wedding invitations, branding, parties, graduations, birthdays, gatherings, etc. Thank You, Romie Creative

Onimusha - Serif font family - 6 Styles - Multilingual supports. Onimusha is an elegant serif font family with different alternative character designs. It has a unique emblem.The inspiration for the characters is based on ancient Japan, samurai philosophy and Far Eastern mysticism. Hard and pointed ends represent a Katana, and elegant soft turns represent the aesthetic understanding. This font provides flexibility in all your projects with the alternatives it offers you with its multiple language options, 6 styles and rich glyph options. You will have the opportunity to enrich the content of your projects with alternative characters. According to the purpose of use in typographic compositions that you will create with the aesthetic structure of alternative characters; You can enrich your titles in books or magazines, and your logos in branding. Especially for editorials, magazines, books, branding, packaging, logo design, web design, headlines, movie and game titles etc. If you're looking for a font with stylistic alternatives, Onimusha serif font might meet your needs. With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Lotter blackletter with Drop caps One fine day I found a vintage book, it called “A treatise by the Dominican friar-writer Marcus von Weida on the Brotherhood of the Holy Rosary”. It was printed in 1515 by Melchior Lotter in Leipzig. The text was illustrated by hand-colored engravings on religious and liturgical themes and beautiful initials I like. Lotter was the last name of a family of German printers, intimately connected with the Reformation. An innovation by the elder Lotter was his use of Roman types for Latin, reserving the Gothic types for German. I'm happy to present to you my new font family. Lotter font family has Drop cap and Regular styles. It's all you need to precisely imitate medieval style text. Use Drop cap style as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in Regular style. You’ll get: * Drop cap & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

I generally refer to our typefaces as ‘graphic’ rather than typographic. By that I mean their starting points are usually ways of constructing shapes and systems of shapes. As with other Alias typefaces, Sabre has stone and wood cut letterforms as a starting point. What is interesting about lettercutting is the connection between shape and material. These beautifully crafted letterforms have a particular sharpness which reflects, of course, how they were made. The idea of constructing letters from a kit of parts we first explored in early fonts Elephant and Factory. These are different in that they were very much grid-based, with a geometric structure. For Sabre I also had Fred Smeijers’ stencil construction drawings in mind. These show how a set of components can be the basis for a crafted, elegant typeface. Sabre is quite a loose interpretation of this idea. Sabre’s graphic shape means it works well at large sizes, with a dramatic, angular impact. Its aim is to be typographic enough to function for blocks of small-size text too.

Lepontic is an ancient Alpine Celtic language that was spoken in parts of Rhaetia and Cisalpine Gaul (now Northern Italy) between 550 and 100 BC. Lepontic is attested in inscriptions found in an area centered on Lugano, Switzerland, and including the Lake Como and Lake Maggiore areas of Italy. While some recent scholarship (e.g. Eska 1998) has tended to consider Lepontic simply as an early outlying form of Gaulish and closely akin to other, later attestations of Gaulish in Italy (Cisalpine Gaulish), some scholars (notably Lejeune 1971) continue to view it as a distinct Continental Celtic language. In this latter view, the earlier inscriptions found within a 50 km radius of Lugano are considered Lepontic, while the later ones, to the immediate south of this area, are considered Cisalpine Gaulish. Lepontic was assimilated first by Gaulish, with the settlement of Gallic tribes north of the River Po, and then by Latin, after the Roman Republic gained control over Gallia Cisalpina during the late 2nd and 1st century BC

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

Hello, friends! I have a good news! At last I have finished working on my Antique Initials color font. Wow! It was a long and hard work because every initial is unique. I sketched each letter of the font very scrupulously from scratch. Each letter is uniquely designed and has a unique flower pattern in the background. I used a pale old color palette to color these letters. There came out two font variants: a black and white and a nice colored one. The font contains initials from A to Z (26 characters, lowercase glyphs are same). I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Please request to add additional characters and glyphs if you need! Thank you! You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only. Please note that the Canva do not support color fonts!

The typeface Brush Hand Marker is designed from 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough sans-serif display typeface with 4 font styles (Italic, Invert, Shadow, 3d) is inspired by handwriting. 348 glyphs incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (2 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-Font (with reduced glyph-set) for FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Brush Hand Marker ■ Font Weights: Italic, Invert, Shadow, 3d + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 348 glyphs ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture. Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & geometric shapes ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

Varp is a rather narrow 2-axis variable geometric typeface with slight reverse contrast inspired by utilitarian and technical design. In Slim and Tight styles, the reverse contrast is enhanced. Typeface is adjustable in width, as if by mechanical deformation of proportions, which is often found in technical and transport markings. The letterforms are based in part on the shapes of DIN fonts, with the deliberate addition of contrasting connections, sharp spurs and massive ink traps for sharpness. With the help of special spacing, selective kerning and adjusted letter width, the effect of a monospaced font is created with no obvious "holes" in the text set, while maintaining a special rhythm. In addition to the width, Varp is adjustable in tilt angle to an extreme 30 degrees and an intermediate 15 degrees in both directions. Features: – Total glyph set: 795 glyphs; – 15 styles (3 widths x 5 italics) + variable; – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; – Greek. OpenType features: – Uppercase, lowercase; – Proportional, circled, tabular numerals, superiors, inferiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic sets (ss01-ss04); – Ligatures; – Case-sensitive forms.

Nutmeg is a geometric typeface with a slight flavored touch. Although its structure is stick to the traditional forms, its details transform this typeface in a boldly project that separates it from other geometric fonts. Nutmeg’s texture can be perceived as a clean typeface that is comfortable to the human eye, furthermore, if you use it in big sizes Nutmeg’s details can be seen as a display font. Under these two ways of perceiving this typefamily, we took the decision of split this type project in two families: a cleaner and more rational Nutmeg versus a Headline version that has more flavored details at the end of the characters. Designed with powerful OpenType features in mind, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for graphic design and any display/text use. The 36 fonts are the first part of a larger Nutmeg family. We’re proud to introduce: Nutmeg. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Rialto dF is a book face inspired by calligraphic tradition. Named after the famous bridge in Venice, it was conceived as a bridge between calligraphy and typography, roman and italic. It can also be thought of as an imaginary bridge between Italy and Austria, since it is the result of collaboration started in 1995 between the Austrian Lui Karner and Venetian Giovanni de Faccio. The letterforms of Rialto dF were drawn directly in digital format with a starting point deriving from humanistic letterforms memorized in the hearts, minds and the manual ability of its designers… As tradition demands, uppercase, numerals and punctuation are used in combination with italics – the same solution adopted by Francesco Griffo when he cut his first italic for the Virgil, the first of the octavo series printed and published in Venice by Aldus Manutius in 1501. Rialto dF comes in two optical weights: Piccolo, for up to 14 pt, and Grande for 16pt and above. Alternate characters and various dingbats are also provided and these are available through OpenType features developed by type designer and technician Karsten Luecke.

A type of “handwriting” discovered by chance, extremely abstract On April 8, 1948 a certain Walter Plaga wrote a crude poem about a hero on a commemorative plaque. The very poor reproduction of the handwritten original, etched into a metal sheet, produced extremely abstract forms so that — even if unintentional — a script completely void of bowls was created. That which originally was the normal clumsy handwriting of a layman thus transformed into a pseudo-modern deconstructive typeface, which in the 21st century appears contemporary. The capital letters especially reflect the original: in part they show forms labeled incorrectly ”old German“ handwriting, which is actually Latin, in the letters A D G I J K L S V W X Z , whereas C H N O P R appear very modern. Truly a form of handwriting: without joining the letters, especially between the lower case characters, a silhouette effect is formed. To a great extent Hero is impressive due to its driven-to-the-limit abstraction and to a lesser extent by retaining an antiquated and nearly illegible effect.

The extensive Wolverton family was inspired by a turn of the 20th century luggage label designed by the London and North Western railway. The Wolverton family combines period flair and charm with respect for the modern need for legibility and purposefulness. The family has at its heart four Body text faces (regular, italic, bold and bold italic). These are complimented by three display text faces, offering upper and lower case letter forms, all offered in regular, oblique, bold and bold oblique forms. Four all-capital based display design are also included if offered in the same four style, making an extensive and flexible family suitable for a wide range of uses; everything from setting large amounts of text to large scale signage and poster work. Wolverton offers a unique blend of charm an modern flexibility, why not give it a try today? All faces include lining and old style numerals and are extensively kerned. Individual faces are all economically priced and substantial discounts offered for the purchase of larger sets of typefaces.

Steel Grrrder is a robust, industrial-style stencil typeface family consisting of six weights, from light to black, with corresponding italics. Suitable for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, logos, packaging, signage and games design, Steel Grrrder is especially useful where the message needs some serious geometric bite behind it. Steel Grrrder is best categorised as a constructivist sans family. The character shapes are sharp, angular and slightly condensed - it’s a rigid, no-frills, no-curves, mega-metallic design. Legible? Not really. Readable? I think not. In your faceable? Absolutely! This is a tough display typeface, designed to work in the most demanding typographic situations. It won’t buckle under pressure or wilt when the heat’s turned up. Forged from carbon steel and wrapped in a layer of Graphene, Steel Grrrder is unashamedly rugged, a rock-hard pound-for-pound boxer specialising in thumping knockouts. The Steel Grrrrder extended family also includes a six-weight joining script and two display fonts, Groove & Nutjob - all designed to work with each other.

Rig Shaded is an award-winning 3D type family with a geometric sans serif at its heart. As its name suggests, Rig is designed as a framework to support a range of striking 3D effects. It has four versatile weights including a unique ‘zero’ weight. Each has two grades of distinctive halftone shading, Fine and Coarse, which emphasises Rig’s solid appearance. Rig developed from my quest to find ideal letter shapes for a shaded typeface while retaining their geometric principles and legibility. Each character has been designed to ensure maximum clarity and harmony when combined with 3D effects. The extrude and shaded styles have been handcrafted to produce a consistent weight and tone. Rig’s character set includes 230 glyphs, supporting 198 languages, including all Western, Central and South Eastern European languages. You can buy individual weight packs of Rig Shaded or the entire family for a discounted cost. See the full specimen for Rigs design features, additional examples and tips on using the typeface. Note: Rig’s shading styles have a high level of detail so may process more slowly in some applications.

Introducing Meisuer – Handwritten Font A Delightfully Cute and Fun Script Meisuer – Handwritten Font is more than just a font; it’s a charming and whimsical script cursive typeface that brings a cheerful and playful vibe to your designs. Irresistibly Cute Meisuer is undeniably cute; each character exudes cuteness with its endearing strokes and whimsical swirls. It’s perfect for creating designs that radiate positivity and cuteness, making it impossible to resist. Infusing Playfulness Furthermore, this font effortlessly injects playfulness into your projects. Whether it’s greeting cards, invitations, or children’s books, Meisuer adds a touch of joy and lightheartedness that takes your design to the next level. Versatile Cheerfulness Meisuer’s versatility shines in various design applications. Its friendly appearance appeals to all age groups, making it a go-to choice for cheerful projects that need to reach a wide audience. In Conclusion In conclusion, Meisuer – Handwritten Font is your ultimate tool for creating designs that are cute, fun, and filled with cheerful vibes. Embrace the whimsical charm of Meisuer, and infuse your projects with a delightful playfulness that captivates hearts and brings smiles to faces.

Tweed is a journey into the 1930s world of hand-lettering. The design looks very much like the personal scribblings of an old-fashioned cartoon animator. It’s the sort of sketch-style you might find describing a goofy caterpillar or laughing willyworm. Tweed is fun and light-hearted with open and rounded letters of a somewhat musical quality. Derived from old letterforms popularized by Carl Holmes in his wonderful book on the subject, Tweed is basically friendly in nature. This typeface is great for personal greeting cards and stationery - any kind of casual correspondence. It works well in display situations, too. And yes, there is an alternate to the funny-looking “w” character. Just press option l (el) on Mac. Or Alt 0172 on Windows. Tweed is now available in the OpenType Std format. Some new stylistic alternates have been added to this OpenType version. 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.

The Core Sans BR Family is a part of the Core Sans Series, such as N, NR, N SC, M, E, A, D, G, R and B. The Core Sans BR Family is designed with rounded stroke endings for visual comfort. This family has very small x-heights and large ascenders(descenders) which give an elegant feeling in body text. It is a sans-serif family but it’s structure is similar to serif fonts, so you can make paragraph beautiful with this font family. It is very legible and readable even in small size because of its open counters and distinctive shapes. This font family consists of 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) and Italics for each format. Core Sans BR supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Get to know the natural and neat font "Cogsworth"! This beautiful neat retro font with imperfect ink edges and a little careless shading is inspired by nature. Eco-friendly fashion takes into account the health of consumers, the health of the planet. The "Cogsworth" font is perfectly combined with any stylized graphics, watercolors, and also looks great on its own as part of a minimalist design. Play with letters to get different effects. Great for branding, wedding invitation design, packaging design, quotes, label design and more. Font Features A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love ♡ Thanks for checking it out, and feel free to drop me a message if you had any queries! ~ Anastasia

Sporty and brawly, Magnesit Stencil creates impact everywhere it lands. Impressive headlines are its specialty, but it feels right at home used in packaging, branding and poster design. With a very tall x-height, wide language support and minimalistic yet playful appearance, it can take on any serious typographic job. Four distinct styles expand the possibilites even further: the straight to the point Regular, the friendly Soft and the determined Hard styles share metrics across related Magnesit and Magnesit Dark families, so you can mix and match to achieve exactly the effect you need. The SuperSoft style unique to the Magnesit Stencil family carries the concept to the extreme, mixing soft organic curves with rigid modularity inherent to stencil signage. Magnesit Stencil works great with illustrations, the generous shapes can be easily filled with strong imagery to great effect. Based on the best-selling Grim, Magnesit is a vast improvement of the concept with long awaited addition of lowercase, reworked proportions, spacing and kerning, expanded language support and useful icons to satisfy even the most demanding typographers’ needs.