The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR 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 NR 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 NR 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.

Spirited, unaffected and buoyant, the ITC Oldrichium type family pays homage to the calligraphy and typeface designs of Czech designer Oldrich Menhart. “I came upon one of Menhart's typefaces over a decade ago,” says George Thompson, designer of ITC Oldrichium. “I've been collecting examples of his work ever since.” Thompson was born in Chicago and grew up in north-west Indiana. “While I've been an educator and general graphic designer for over 30 years, lettering and type design have always been an important part of my work,” he says. Thompson now spends much of his free time designing typefaces. ITC Oldrichium is a subtle melding of the shapes and proportions of Menhart's Manuscript typeface, the energetic strokes of his calligraphy, and Thompson's own design skills. The result is a distinctive, powerful, and exceptionally versatile typeface family. Available in light, regular, demi bold and bold weights, with corresponding italics for all but the bold, ITC Oldrichium is comfortable setting both text and display copy. In addition to the basic weights, Thompson has created an Engraved version for those times when an especially powerful statement is called for.

Introducing our latest retro font design: Orelia Display font, a modern take on classic mid-century typography. Our simple retro font is designed to be humble yet eye-catching, with clean lines and simple shapes that evoke a sense of nostalgia while remaining relevant and contemporary. This font is perfect for projects that require a touch of retro charm without overwhelming the design. Its understated appearance makes it ideal for minimalist designs, logos, and branding, while the bold letterforms ensure that it still catches the eye. Crafted with care and attention to detail, our simple retro font is available in a variety of weights and styles, allowing you to customize your design and make it truly unique. Whether you're creating a retro-themed website, designing a product with a vintage twist, or simply want to add a touch of nostalgia to your work, our simple retro font is the perfect choice. With its timeless appeal and modern design, our simple retro font is sure to become a go-to choice for designers and creatives who appreciate the beauty of simplicity. Purchase now and add a touch of retro charm to your next project!

Daiquiri is a revival of a handlettered font in two weights, from an ad for Puerto Rico Rum dating back to the forties or fifties. I found the ad on a French antique market on my last visit for Mardi Gras in Nice. The ad read "Breeze through the heat, be a Daiquiri fan". That's why they had this "fan" in the illustration! Did they want you to rotate like a fan when you had enough Daiquiris? Or did they just do it for that little "Jeu des mots"? Anyway I found the handlettering very pretty, so I took those few letters and made a whole font out of them. I think Daiquiri has that touch that brings those happy and uncomplicated times back when advertising was still fun. I started something like 20 years later in advertising and things had gotten more stringent. We already had to satisfy those marketing guys with their scholarly attitude. They have taken all the fun out of the job, for the creators as well as for the consumers. I would like to see more uncomplicated ads like this again, yours Gert Wiescher

This font has that grungy, gritty look, and combines it with some elegant swirls. Weird and wonderful. I have added swirls and decorations to ALL the uppercase letters that did not have them, so there are now wider possibilities to add interesting decorations to your composition. In addition to the expanded language support, of course. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Goldenwick This pair was inspired by lettering at invitation design that i got few weeks ago, it was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. Opentype features Goldenwick font has 207 character set included. This font is very good for design logo, labels, packaging product, invitations, advertising and others, this font will make your design authentic and good looking with modern calligraphy style. If you’re looking for original calligraphy script font for your greeting card and make your design authentic, this item is a great choice to make your design looks great and unique. This fonts works with following languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR 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 NR 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 NR 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.

Dilemma is a sans/sans serif type system with 42 styles; it is inspired by the anonymous Polyphème, Cyclopéen and Extra Condensé designs from the early 1900s at the Peignot Fonderie. From these initial points of reference, Sudtipos went further and reimagined these projects for an actual use by blending them into a unique and complex type system. Dilemma is defined as ‘a situation in which a difficult choice has to be made between two or more alternatives, especially ones that are equally undesirable’ and that is exactly how we designed this font. We created a workhorse system where each style functioned well alone but would be more powerful when working as a team, pairing the sans styles with the serifs. Dilemma comes in 3 different widths and 7 weights in both the sans and the serif, ranging from the more economical yet legible condensed styles, to the opulent bold and expanded weights. Dilemma also contains 2 Variable Fonts. We imagine Dilemma being used in a limitless array of graphic projects including identity systems, digital platforms, public spaces, editorial design and beyond. Now the Dilemma is yours.

A shape-shaky script font that reacts to audio! Thanks to the variable font technology, fonts today can be variable be it weight, width or any other parameters that are defined by values such as shape! Even better: in html, with a bit of css (and in this case, javascript as well) it is possible to animate them between these values. This gave me the idea to create something really fun which is a quirky, informal handwritten font that can react to sound. The html file along with css and javascript is taken from codepen.io and I was using and tweaking it to this specific project. Please read more details in this pdf where you can also find link to a demo and download the txt files: https://drive.google.com/file/d/15J_6g3NgmZKJYO6SrnOHj4Rk7qltkfwE/view?usp=sharing The character set of this font contains Western, Eastern and South-Eastern Latin accented characters, special characters, basic symbols, punctuation and signs. Best use is with large size and a few words rather than large sentences. I hope you guys like it and it will add up to your next creative project! Have fun and happy creating!

A classic "wild west" or circus type font - perfect for oldstyle posters and anything needing an antiquated look. I have switched a few letters around, and made the uppercase M narrower - and then kerned it and expanded the character set. "Howdy pardiner!" ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Canilari is a post-modern type family inspired by Diaguita pottery and contemporary serif typefaces. The Diaguita culture—developed from 10th century A.D. until 16th century A.D.—settled in the area of the present-day north Chile and northwest Argentina. Surviving cultural expressions of the Diaguita people are reduced to just a few pieces of beautifully decorated pottery of high technical quality. Canilari itself is a scream of identity with an incomparable tone that borrows elements from native America and proudly show them to the world. The intense and consistent personality of Canilari makes it a functional font for a wide range of uses: from continuous text in the most challenging environments to pithy, high-impact headlines. Canilari is well-suited for publishing: newspapers, magazines, books, etc. Its flashy look and angular shapes also make it an excellent choice for posters, logotypes, and advertising. The family consists of 2 sets: one standard and one pro, each in 4 weights plus italics. Canilari also includes a set of ornaments and illuminated caps. Together, the Std set (369 characters) and Pro (710 characters) support 219 different languages. This typeface was selected at the Bienal Tipos Latinos 2014.

With all ego aside, Romp was designed and influenced by my daughter, Angel. For some time now, she has wanted me to design a font based on her handwriting. But each time I sit down to do it, I run into more that she needs to do and redo. On a recent attempt, I ran into the same situation again. Instead of moving on to something else, I decided to whip out a sumi brush and start making letters...for me, type design is something a little ‘serious’ and never a time to just have fun. This typeface proved that notion wrong—it really was fun. As a result, each letter encouraged another and the design grew...and grew! The happy result spawned 3 separate sets of letters & numerals (small caps and some ligatures too!). Using the beauty of OpenType, these 3 sets have been fused into one, randomly generating font set. If you are using any type of OpenType enabled application, then the Romp Pro typeface is the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional small cap and ligature sets.

Nazanin, originally named Haghighi, is a modern Arabic text face first produced by Linotype in 1978. Its popular design was converted into OpenType format in 2005, taking full advantage of digital technology to allow accurate positioning of diacriticals and kerning refinements. The counters and inter-character proportions of Nazanin are characteristic of Persian display lettering and typography. This is particularly true of Nazanin bold, which gives a strong image when used for display purposes. Nazanin possesses fuller, deeper characters than is normally exhibited in Arabic typography: its angled counters contributing to fluid, well-balanced, yet vibrant, letterforms. Originally designed for Farsi typesetting, Nazanin has now become popular for Arabic typesetting as well. Nazanin is available in two OpenType weights: Nazanin Light and Nazanin Bold. Both of the fonts include Latin glyphs (from Palatino Roman and Palatino Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Nazanin incorporate the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Sagrantino™ shines at large sizes – and in vibrant colors. Think big posters, commanding headlines, massive banners and oversized packaging. Set headlines in the Highlight or Shadow designs and running copy in the Regular – all on the same page! Sagrantino could be called the Lava Lamp of fonts. It’s slick, glossy, retro and futuristic. Somehow, it’s fresh and quirky-classic at the same time. This is a design that challenges you to think outside the text box. In fact, Sagrantino is so lively, it took three Monotype typeface designers, Karl Leuthold, Juan Villanueva and Carl Crossgrove, to draw it. Because it’s a script, Sagrantino pairs perfectly with just about any other design – except another script. Maintain the futuristic retro vibe by combining Sagrantino with a typeface like Biome™ or Neo™ Tech. Looking for a counterpoint? Try a cool sans like Avenir® Next or Univers® Next. OpenType® Pro fonts of Sagrantino enable automatic insertions from a crowd of fancy ligatures and delightful alternate characters – in addition to offering an extended character set supporting most Central European and many Eastern European languages.

A Monogram is a lettering character made up of the main letters of a name and sometimes all of them. It is a kind of design which dates from the earliest times of our history. It is a distinctive mark that everyone could have themselves, to apply to documents and many purposes. The signatures of ancient Kings were Monograms. Today this brand, for the people of taste, must have the cachet of this era or the evocative feelings of ancient times. Our predecessors knew how to create it by using the capital that preceded Gothic and the other characters. The Vintage Monograms collection contain hundreds of ready to use in alarge of shape of the letters, with styles from Victorian, to Art Nouveau and to mediaeval like in the old manuscripts. Ready to use fonts, Vintage Monograms collection is a classic that features elegant and intricate monograms perfect for branding and personalization. Its ornate designs evoke the timeless style of vintage logos and can be used to add a touch of sophistication to invitations, stationery, and packaging. Monogram brings an air of refinement and exclusivity to any project.

Tsotsi, a recent addition to the Scholtz Fonts range, is highly legible, strong, African and contemporary in design. It is a sans serif font, however, the gently splayed terminals to the strokes subtly hint at a serif. It has been designed to be easy on the eye and readable at all font sizes and can be used either as a body (text) font or in headings and larger scale design. The font has an irreverent insouciance which is suggested by the verticals which all vary from true perpendicular by a few degrees, and by the slightly top-heavy nature of all characters - hence the name "Tsotsi" -- a rascal who is very sure of himself (and a little big-headed). Above all, however, the Tsotsi (both the font and the person) has an appealingly cheeky and mischievous style. It includes characters for English, French, Italian, German, and Portugese. all upper and lower case letters, all special characters as well as all numerals and punctuation. The numerals are mono-spaced so that they will line up correctly in columns of figures. The letters of the alphabet are correctly kerned so that they appear correctly in text.

Wardruna Arabic is a method of writing Arabic with a Runic-like alphabet devised by Devin Lester. He imagined that if some vikings had settled in the Middle East, they might have started speaking Arabic and writing it with a version of the Runic alphabet. This particular alphabet is based on Tolkien's Cirth Runes. A band of vikings went to Baghdad after raiding in Europe. The markets in Constantinople were closed as the Turks had just sacked the city. These men had heard of the great market in Baghdad and went there to sell their wares, seeing that this land was warm and fertile they decided to stay. They ended up settling the land and taking Arab wives and having children, because of thier Northern European accent their Arabic evolved into a part-Arabic dialect of Iraqi arabic. This is why today you see a few Arabs with green eyes and dark blonde or red hair. The Arabic alphabet was too fluid for them and vikings disdained the use of paper as a persons writings could be burned, so the evolved their runes to fit Arabic.

Conthey™ is a highly customisable unicase sans serif family designed for headlines and display use. Its modern, sharp and friendly character will add a fresh, positive vibe to your projects. Conthey customization options include weight variants from hairline to extra bold, width variants from narrow to normal, as well as style variants - possibility to change the mood of the font - from normal unicase, which is already a little cheerful in character, to even more playful, neo-deco proportioned unicase. Conthey feels at home when used for modern branding, magazine layout, headlines and posters. Variable fonts, broad choice of styles and additional alternative stylistic set give the family a great versatility and uniqueness. Conthey consists of 126 fonts in 3 width variants and 3 style variants - 63 uprights and their corresponding italics. Conthey family contains also 2 variable 3-axis fonts, with axes: weight, width and style (that changes internal proportions of some letters, like A H a e g and more). The family has extended language support as well as broad number of OpenType features, such as alternative stylistic set, discretionary ligatures, titling alternates, contextual alternates, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Introducing Sunday Notes, a unique and beautiful handwritten font crafted with love and precision. This font offers a relaxed and friendly writing style, perfect for your creative projects. Inspired by the calm and cozy vibes of a Sunday, Sunday Notes adds a personal touch and warmth to your designs. Sunday Notes comes in two main variations: Regular and Italic, allowing you to express your creativity even more. Each letter in this font also offers multiple alternatives, providing flexibility to create captivating and eye-catching text. With Sunday Notes, you can bring a warm and friendly atmosphere to projects like logo design, greeting cards, invitations, merchandise, websites, and more. It's compatible with various devices and design software, making it easy to use seamlessly in your creative work. Whether you're a professional designer or an art enthusiast, Sunday Notes is the perfect choice to add a personal touch and beauty to your projects. Let's create stunning designs using Sunday Notes as the captivating handwritten font. Now, you're ready to introduce Sunday Notes to the world and inspire others with the beauty and warmth of this handwritten font.

The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now. Bella Donna is an upright round script that can be used both formally and informally, in almost any design where an elegant script completes the equation. The almost dramatic grandeur of the majuscules is very nicely complemented by pouty low-x-height minuscules that sprout graceful and very visible ascender and descender loops. Titles, sentences and paragraphs set in Bella Donna are meant to delightfully tease the reader and make hearts skip a beat. Bella Donna can deliver a subtle promise of joyful playfulness, inviting elegance, memorable romance, sensuality, or sincere understanding. Bella Donna was redrawn and digitized from original specimen by Rebecca Alaccari, who also extended the character set with plenty of alternates and some add-on swashes built within the font.

Kira is a modern hand-painted script with an irregular baseline. Rough edges and imperfect lines give to this brush font a unique and trendy look. All glyphs have been carefully painted giving your words a wonderful flow. Fat and thin stroke in this font impresses the harmony. Want to give your projects an organic, hand-painted look? Kira font contains 717 glyphs, with inky lines, and “perfect or imperfect” painted edges, including a few extra character alternates, stylistics and contextual alternates, swashes, stylistics sets, ligatures for a genuine hand-lettered effect. This font includes OpenType features that may only be accessible via OpenType-aware applications, a Central European language support. To activate the optional glyphs you may click on Swash, Contextual, Standard Ligatures and Discretionary, Titling, or Stylistic sets buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Bonus: 40 useful ornaments and a lot of catchwords that you use for the most demanding design project! Kira looks lovely on wedding invitations, greeting cards, logos, business cards and is perfect for using in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and more!

We present Les Tulipes Pro. A smart, classy, modern calligraphy layered type system that offers an array of versatility. Les Tulipes Pro is hand drawn with dip pen and ink, with great attention for details. To name a few: - Elongated entrance and exit strokes ( type ++1 to ++10 in front and __1 to __10 at the back of any letter) - 5 different connecting spaces that make it appear as if the pen was never lifted from the paper (type space1 to space5 wherever you want the connecting spaces to appear) - 9 alternate ampersands (type &1 to &9) - 2 alternate at signs (type @1 or @2) - 5 stylistic sets for alternate characters Note: Discretionary ligatures must be ON The various designs of Les Tulipes Pro harmonize beautifully. Les Tulipes Pro Sans was designed to complement and support the other styles. The more straight forward appearance of the Sans styles enable you to balance out your designs perfectly. The Bold and Closed versions offer even more possibilities to combine or highlight words and phrases. On top of that Les Tulipes Pro Extra, with its 85 gorgeous swirls and swashes tempts you to further embellish your design.

Now Uniform comes in Italics! Uniform is a multi-width geometric type family designed around the circle. The O of the Regular width is based on a circle, the O of the Condensed width is based on 1.5 circles stacked (with straight sides) and the O of the Extra Condensed width is based on two circles stacked with straight sides as well, and all other characters are derived from this initial concept. This unique idea creates a remarkably fresh type family that bridges the gap between circular geometric typefaces and condensed straight-sided typefaces. Uniform also includes many opentype features like Old Style Figures, Tabular Lining Figures, Alternate characters, Ligatures and more. Uniform was first drawn starting with the Black weight. This careful process allows each character to look consistent and balanced through all weights. As a result, the typeface does not ‘break down’ or lose its form in the boldest weights like many typefaces do. The three widths of Uniform Italic make an ideal type family for a host of various uses. From branding to web design, book covers to signage, Uniform is a very versatile solution to complex typographic needs.

Meet Pristine Pro, the epitome of elegance and precision in typography. This Slab Serif font, meticulously developed with a humanistic touch, promises unparalleled sophistication for your projects. Its 18 versatile font families, ranging from Thin to Black, offer a tailored solution for every design need. Explore the seamless blend of clean lines and firm structure that defines Pristine Pro. This font isn't just a typeface; it's a statement of modernity and style. With support for 89 international languages, including English, French, Spanish, and German, Pristine Pro caters to a global audience, ensuring your designs communicate effectively worldwide. Desire perfection in your designs? Pristine Pro delivers. Craft compelling branding, striking posters, or editorial layouts with confidence. Its immaculate precision and extensive language support empower your creativity. Your desire for flawlessness finds its match in Pristine Pro, promising visuals that captivate, leaving a lasting impression on any audience. Ready to elevate your designs? Take action now. Download Pristine Pro and witness your creativity flourish. Unleash the power of clean Slab Serif typography with international appeal. Dominate the digital space, ensuring your projects rank high and capture attention. Seize this opportunity and transform your designs into timeless masterpieces.

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

Are you watching closely? We know what you're looking for -- the secret. Comicraft’s magic formula, our Legendary Legerdemain. But you won't find it because of course, you're not really looking. You don't really want to work it out. You want to believe in the magic. Every great Comicraft font consists of three parts. The first part is called “The Pledge”. Comicraft shows you an ordinary looking font: A through Z, nothing more than the letters of the alphabet, unaltered, normal. But of course... they aren't. The second part is called “The Turn”. Comicraft takes the ordinary letters of the alphabet and makes them look extraordinary. Now you are peering closely -- you convince yourself you're looking for the secret... even though you really don't want to know. You want to be fooled. And you are! But don't applaud yet. Because making something extraordinary isn't enough... That’s why every Comicraft font has a third part, the hardest part, what we call “The Prestige”. That''s when we have to SELL the font. And that’s the real trick. See the families related to Legendary Legerdemain: Legendary Legerdemain Leggy.

Say hello to summer freshness with the Anwutok font! With a cheerful Display theme, this font is the perfect solution for creating projects with a relaxed and bright feel. Anwutok comes with impressive features. With ligatures and alternates, you can easily combine interesting characters and create unique and creative typography designs. Apart from that, Anwutok also supports multilingualism, allowing you to adapt this font to different languages. This gives you flexibility and extends the reach of your project to a wider market. With a fresh and playful style, Anwutok brings a fun and uplifting touch to your designs. Each letter is designed with care to convey evocative beauty. Choose Anwutok as your constant companion in creating enthralling and relaxing projects. Get this font now and let summer inspiration decorate your creations. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

The idea behind this typefaces was to combine something retro and vintage with a style of this century. A reference from Vintage Typography, Art Deco, Neo Deco. With an improvised and create something in between those styling. Tiverton created in Serif, Sans-Serif and Script. Within 3 Style, it more helping and easier for create something without "thinking" the font compartment. Features of Sans Serif and Serif are comes with stylistic alternates and you can activated with Contextual Swash button on Adobe Illustrator or Adobe Photoshop, And Catchword such as the preview above, activated with underscore in the beginning and end of the letters, for example : _ the _ (underscore)the(underscore). Features of Tiverton Script are Ligatures, Contextual alternates, Contextual Swashes. no alternates. but Tiverton Script available with 2 Weight, Light and Regular. For a bonus, I create an Ornament Fonts. Special shout for the ornament fonts are for the borders. on the Number Character 0-9 are created for connected borders. for Beginning and end the lines you can press Shift on the Number Character. For example : type !2222@ on the text preview below and see on the Tiverton Ornament.

When I released the original Organic in 2009, I was satisfied with it. It was what was possible from me and the technology at the time. The Organic Pro of 2021 takes those original desires of delivering a highly legible and friendly sans serif, and doubles down on those notions, while exploring what further infusing warmth in a highly structured sans serif can really do for a client. Free of distracting and potentially dating visual traits and cues that could be seen as endemic of a specific time period or ‘type trend’, Organic Pro is its own person—take it or leave it. Inviting warmth, assured reliability, and a head nod of confidence is what you walk away with—a stark contrast to the cold, impersonal geometrics and grotesques proliferating the design annuals currently. Releasing this typeface now, completely redrawing the masters, as well as expanding the weight and language options, should be seen as a laid back challenge that we need to do less with type, let it communicate confidently and warmly when it needs to, and stop forcing one-size-fits-all type trends on everyone.

Situgintu Calligraphy has lots of alternate characters, swashes and ligatures. It has also a bunch of tails with different shapes and widths to give the logotype or sports look to your design. You can design beautiful, elegant and diverse typographic elements with it. It’s well suited for logos, lettering artwork, t-shirt designs, editorial illustrations to name a few. Features : -PUA Encoded 100% Acessibility -Stylistic Alternates -Standard Ligatures -Stylistic set SS01-SS07 If you don’t have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows).To Access Alternate Characters Click The Link Below: How to access alternates in Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk How to access alternates in Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE How to access alternates in Ms Wordhttps://www.youtube.com/watch?v=HxkhZiCuwEw How to access alternates in Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons How to access alternates in Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q How to access alternates in Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY

For best results, use of OpenType features is strongly recommend. This font is inspired by Johannes Janssonius, well know as Jan Janszoon o Jan Janssonius (Arnhem, 1588 – Amsterdam, 1664), was a Dutch cartographer, publisher and engraver. Married to Hondius's daughter. He was the author of many masterpieces of cartography of the 1700s like Willem Blaeu and Hondius, famous maps with heavy use of decorations in the letterig to fill the spaces of oceans, seas, lakes and scrolls. Now you can easily recreate not just ancient maps without effort, but you can use this font creatively, to make unique, modern logos, product names, fresh packaging, hip fashion outfits, refined labels, signs, coordinated images ... Hundreds of alternatives to choose from and maybe to combine with other fonts in an original way. One extra font with 27 castles in Janszoon style are also usefull for map, of course, but also for many different creative artworks. Warning: Jannson Map having oversized swashes compared to the normal standards cannot be used with Windows Word because Word does not give the possibility to manage the line spacing professionally. Jannson Map works great with applications like Illustrator, In Design, quark Xpress, mac Text etc ...

PRISMATIC SPIRALS PRO FONT! The Prismatic Spirals PRO is a Decorative Type-System and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Spirals Pro has two related Typefaces both more basic or easier to use versions, the Default Family plus its “bold” braided version Prismatic Interlaces… PRO provides a more advanced, complex, and twisted Design, plus requires to be typed alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Spirals Pro Font Map Reference PDF Here! (!) Is recommended Print it to have the Reference or open the PDF to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. The 2 glyphs sets are separated in colors for facilitating. Also use the Map Font with key captions or switch to it for ensure that the characters are alternating between both uppercase and lowercase letters as other Keys as numbers, marks, and punctuation along the strings, holding Shift one by one or actually two by two. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 96 are different keys with 2 versions of each of both caps and shift keys, plus a few repeated for facilitating. It was settled this way in order for exchanging with its Prismatic relative fonts which has only 48 different keys repeated twice. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era. Funk is of course little more than jazz with a chorus and an emphatic beat. Nevertheless, it became the definition of cool in the 1970s, thanks to blaxploitation movies with excellent soundtracks like Shaft and Superfly. Funk began as a commercial audio experience, then later expanded its signature to cover everything, from design to fashion to the later birth of disco, which is really a further simplification of funk. Funk had very strong and unique typographical elements, particularly a kind of titling with an essentially western, wooden core that suddenly changed and flared in unexpected areas until a very individual brand was achieved. Everything that can be tacked on to the alphabet was used towards that individuality. Things like curls, swirls, swashes, ligatures were always plentiful in funk, sometimes giving the titling a specific gender, sometimes bulging, sometimes speeding, sometimes fading in the distance, sometimes doing nothing but crazily aligning with other design elements, but the result was always a fascinating creature that seemed to invariably want to dance and have fun. Tomato was built in exactly that spirit. The original film type certainly had enough swashes and curls to be an unmistakable funk font in itself, but our further expansion of it cements it and makes it the definite font for the genre. With as many as 12 different possibilities for some letters, the designer's choices for a titling set in Tomato are virtually limitless. The Postscript and True Type versions of Tomato come in five fonts, including two fonts for alternates, one font for ligatures, and one font for swashes. These are split into two affordable packages. The entire family package is also available at an even more affordable price, and includes complimentary Cyrillic, Greek, Turkish, and Central European versions of Tomato. A Tomato Pro OpenType version is also available. It is a single font that includes over 650 characters, glued together with extensive programming for convenience of use in OpenType-friendly applications, where you can watch the letters morph and dance as you push the buttons and change the options of your OT palette. Now you know which font will come to mind when someone says the word "funky".

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

The perfect typeface for the modern age has arrived. Good Timing is the ultimate fusion of style and substance, taking the best of the classic Good Times typeface and elevating it to a new level of cool. The wide, capsule-shaped design of Good Timing makes it stand out from the crowd, giving your text an edgy, high-tech vibe. And with its seven weights, including italics, you’ll have all the flexibility you need to create eye-catching designs that are sure to grab attention. But that’s not all—Good Timing also comes packed with all the symbols and characters you need for any project. Mathematical symbols, fractions, numeric ordinals, and monetary symbols are all in good supply, so you’ll never be left searching for the right character. So whether you’re designing a cutting-edge website, a sleek marketing campaign, or a futuristic logo, Good Timing is the typeface for you. Download it today and take your design game to the next level! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Ice Creamery is a new variation of our Saloon Girl font family complete with italics and fill fonts which may be used to layer different colors into the open parts of each glyph. We don’t recommend using the fill fonts for Ice Creamery as stand alone solid fonts, Ice Creamery Chocolate was designed as a the stand alone solid font for this font family. Fill fonts go back to the 1850's where they would design matched sets of printing blocks and the layering of colors took place on the printing press, they would print a page in black then on a second printing they would print a solid letter in red or blue over the letters with open spaces to fill them in. Most of the time the second printing didn't line up exactly to the open faced font and it created a misprinted look. With the fill fonts in Ice Creamery and other FontMesa fonts you have the option to perfectly align the fill fonts with the open faced fonts or shift it a little to create a misprinted look which looks pretty cool in some projects such as t-shirt designs. I have some ice cream making history in my family, my Grandfather Fred Hagemann was the manager of the ice cream plant for thirty years at Cock Robin Ice Cream and Burgers in Naperville IL. In the images above I've included an old 1960's photo of the Cock Robin Naperville location, the ice cream plant was behind the restaurant as seen by the chimney stack which was part of the plant. If you were to travel 2000 feet directly behind the Cock Robin sign in the photo, that's where I started the FontMesa type foundry at my home in Naperville. My favorite ice cream flavor was their green pistachio ice cream with black cherries, they called it Spumoni even though it wasn't a true Spumoni recipe. Their butter pecan ice cream was also incredibly good, the pecans were super fresh, their Tin Roof Sundae ice cream was chocolate fudge, caramel and peanuts swirled into vanilla ice cream. One unique thing about Cock Robin and Prince Castle was they used a square ice cream scoop for their sundaes.

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Hey there! Are you on the hunt for a new typeface that’s cool and laid-back? Well, look no further because Soap is here to sweep you off your feet! This typeface is the epitome of chill, taking the classic Cooper Black and smoothing it out even more. Soap’s unicase letterforms are so soft and inviting, you’ll feel like you’re sinking into a warm bath. And let’s talk about the spacing—it’s so tight you could bounce a quarter off of it. And here’s the best part: Soap is versatile enough to use for both headlines and body copy. That’s right, this typeface can do it all! Plus, with an alternate lowercase-style T available in OpenType adept applications, you’ll have even more creative freedom. But wait, there’s more! Soap comes in not just one, but three unique styles: Clean, Soap Stamp, and Soap Spraypaint. The latter two are perfect for adding a touch of grime and edginess to your designs, with straggly letter variations that prevent any boring repetition. So if you want to add some laid-back coolness to your next project, give Soap a try. It’s the perfect blend of classic and contemporary, and it’s sure to make a splash! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Attention all design enthusiasts! Are you tired of the same dull typefaces dominating the design world? Look no further than Ohitashi, the daring and unconventional creation by Typodermic principal Raymond Larabie. In a world where twentieth-century sans-serif typefaces reign supreme, Ohitashi breaks the mold and blazes its own trail. Larabie has masterfully infused this typeface with a unique blend of humanistic stroke contrast, spontaneous licks and curls, and incised detail, resulting in a one-of-a-kind design that defies convention. But don’t let the unconventional nature of Ohitashi fool you. This typeface offers a practical range of three weights—standard, semi-bold, and bold—making it an incredibly versatile option for any design project. Whether you’re looking to add a touch of personality to a marketing campaign, or looking to revamp your brand identity with something fresh and new, Ohitashi has got you covered. So why settle for the same boring old typefaces when you can break free from the rut favored by reductive competitors? Embrace the unconventional with Ohitashi and see your designs come to life like never before. Trust us, your audience will thank you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Type designer Xavier Dupré’s Garalda is a charming 21st century family that renews a legacy of finesse. As paragraphs on a page, Garalda’s overall impression is of a workaday personality, committed to the main purpose of the job: easy long-form reading. But setting it in display sizes proves something different: This reinvented Garamond is anything but basic. The Garalda story begins with the serendipitous finding of a book typeset in a rare Garalde, called Tory-Garamond, with which Dupré was not immediately familiar. This Garamond was used in bibliophile books in the decades surrounding 1920, but after that it became déclassé for an unknown reason. Dupré found the italic styles especially charming and discovered the family was probably the mythical Ollière Garamond cut from 1914. He obtained low resolution scans of the typeface and used them, rather than high resolution scans, as the basis for his new type family. This allowed Dupré the mental freedom to experiment and remix as he saw fit, culminating in a contemporary family with heritage. As seen in the simplistic rectangular serifs, Garalda is a humanist slab serif, but with a mix of angles and curves to give the classic shapes a fresh, unorthodox feeling. While almost invisible in paragraph text, these produce a graphic effect in display work. The set of ligatures in the roman and italics lend themselves to unique display use, such as creating lovely logotypes. In the italics, some swashes inspired by different historic Garamonds are included, sometimes breaking their curves to be more captivating. Just look at how the italic ‘*-s’ ligatures create ‘s’ with a cursive formation rather than merely a flowing slant. And how the roman ‘g’ link swings as wide as a trainer’s whip. These are all balanced by squared serifs in the roman to keep an overall mechanised regularity. The Garalda family comes in eight styles, includes some of the original arrows and ornaments, and speaks multiple languages for all typesetting needs, from pamphlets to fine book printing. The complete Garalda family, along with our entire catalogue, has been optimised for today’s varied screen uses.