Belle Jardin is an Art Deco inspired display family of three typefaces, offered in in-line engraved regular and demi bold forms as well as a solid bold form. It offers upper and lower case solid slab-built forms that create an immediate atmosphere of the streamline era of the thirties and are also at home in post-war revival inspired design work. The letterforms are solidly legible and ideal for cover and poster inspired design work.

Boulevard Sans typeface designed by Takoliko Studio. This Sans Serif font inspired by retro geometric style especially the radio and vhs era.The simplicity and geometric style is a timeless choice for your design. It comes with reguler and Bold, also oblique style for a different feel. Its bold characteristics makes it suitable for attention grabbing design projects such as headlines, posters, social media displays and editorials. And You can combine the family to make a larger design concept.

Bitgros is a classic bold sans serif Display font. Bold stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Bitgros font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Bitgros font. Cheers, Maulana Creative

Here’s another gem by Ross F. George from the Speedball Text Book. It was originally entitled simply Bold Display (Modern Alphabets on Parade) and had a graduated spatter pattern. This version omits the pattern, but keeps the bold, brassy lines. Use it whenever you need an unusual and dynamic headline with a strong retro vibe. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Moldovan and Romanian.

Highills is awesome bold decorative font. created in rounded corner that give this font a tough and calm feel. this font has s good looking as header and as text both. Highills is fit perfectly for branding projects, movies, logos, social media posts, posters, books, and many more. Features: Basic Latin Glyphs Bold Uppercase and Lowercase Letters Alternates & Ligatures Numeral and Punctuation Multilingual Support Thankyou for picking up this font, hope you enjoy it. Regard. Grontype

The Bonyad font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. Bonyad is a modern Sans Serif font family.The Bonyad innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Bonyad supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Bonyad Font family is available in six weights; Thin, Light, Regular, Demi Bold, Bold and Heavy. Its intuitive design arrangement fulfills the following needs: It is precisely crafted for use in electronic and print media. Bonyad is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. Bonyad is suitable for multiple applications, and gives the widest potential for acceptability. It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bonyad's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. Bonyad is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. Bonyad uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Bonyad typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

At first glance, the lettering style of Technopen JNL seems to emulate the computer-age fonts of the 1980s. In actuality, this font is derived from an alphabet sample found in an instructional booklet for the Esterbrook Drawlet Pens. The Drawlet line was Esterbrook's answer to the iconic Speedball pen points sold through their chief competitor, the Hunt Pen Manufacturing Company. So, what seems to be late 20th Century typography is actually from vintage source material. In fact, the entire contents of the instructional booklet were copyright 1929! A few minor changes were made to the original A-Z alphabet and additional characters were added. The name Technopen is a shortening of the term 'technical pen', which is both a nod to the techno age of the 80s and the technical instruments of the past utilized for drawing and lettering.

There is an interesting story about this vintage professional Mercedes typewriter I’ve used to make this font. My grandfather, who was a Yugoslavian partisan during the WWII captured it from a Wehrmacht command building during an attack, and he kept it in a perfect shape for so many years. After I inherited it, I wanted to share it’s uniqueness (as well as it’s story). I’ve intentionally kept it in it’s original condition - I haven’t replaced the ribbon that was some 34 years old (or more) before sampling the font, and it turned out really nice. One more important thing - I have used ONLY it’s original set of characters (Latin with some Balkan-based letters). With it’s untouched originality and uniqueness it fits to our modern culture perfectly. There are no compromises here - there are no popular @,#,$ and other characters you would expect in a font. You will get EXACTLY what’s on this genuine “Mercedes” typewriter with so much soul.

OCR-A was originally designed in 1968 as a machine-readable alphabet. Its functionality was its most important element, instead of its design. Over the following decades, the typeface has become popular in the design world nevertheless. But typographically pleasing results are often hard to come by, due to the original design’s “non-design design”, as well as its undeveloped character set. In 2006, Miriam Röttgers revised and extended OCR-A, creating OCR A Tribute. OCR A Tribute is a typeface family comprising of two versions: one in which the glyphs have been proportionally-spaced, and another that is monospaced. In the monospaced version, all glyphs have the same width, like the letters in the original OCR-A font do. Both versions of OCR A Tribute contain complete character sets and expert glyphs, as well as lining and old style figures. Now you can rest easy, and finally use this classic design for display purposes and headlines!

Peppo is an informal, simple, readable and easy-on-the-eyes handwritten typeface inspired by hand-written script. Each font providing an organic and spontaneous hand lettering feel. Combination of 12 styles (3 widths and 4 weights) and wide range of glyphs guarantee high freedom and flexibility of typographic work. Peppo typeface includes extended Latin characters with capitals, small letters and small capitals, lining and old style figures, superscripts, scientific inferiors, currency symbols and arrows. You can use this font to create childrenís publications, posters, CD labels, T-shirts, coffee mugs, and banners. Important technical notice: Combining diacritical marks (U+0300, U+0301, U+0303, U+0309, U+0323) are only 'compatibility characters' for codepage 'MS Windows 1258 Vietnamese'. Combining diacritical marks (U+0312, U+0315, U+0326) are only 'compatibility characters' for Czech, Latvian, Romanian and Slovak language. OpenType features 'Mark to Base' and 'Mark to Mark' is not supported. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

“Byblos” is the name of a town in Lebanon and the name of a famous hotel in St. Tropez. Some time ago I discovered their original logo in an old french magazine, just 5 by 3 centimeters small without any text, address, telephone number not even a picture. They did not need that, that’s how famous the hotel and its old logo was. Well they abandoned their identity when the place was sold to a big chain – I think. But the logotype, just those five letters inspired me to this new font. It evokes times past and has a little Bauhaus in it – as well as a really modern touch, all depends on the way you use it. Your strange typedesigner Gert Wiescher

Get ready for a font revolution with the Bllum SVG script color font family. This is a unique calligraphic color font. Writing immediately with 3D realistic letters is now real. Create a stunning visual effect. Features: - Real Plastic effect - Extras & ligatures - Alternates characters - Kerning IMPORTANT: - Check the glyphs in the font before buying! - SVG fonts contain raster letters. - Check it www.colorfonts.wtf - Try a FREE DEMO version before buying. ld.luxfont@gmail.com

A calligrapher, graphic designer and teacher, Duško Trifunović of Belgrade created this handsome calligraphic typeface called Sloboda. It has an open design, an outline of sorts, and though the lowercase is small and compact, it sets beautifully in text. The generously sized uppercase has a swash flavor to it yet works harmoniously with itself. This OpenType font has extra ligatures and the extended character set supports Central Europe.

Pontifica is based on ‘protogothic’ calligraphy, a style developed at the monastery of St. Gall in the 12th century to replace Carolingian minuscule with a more efficient and compact system of lettering. Ultimately it became the progenitor of the gothic lettering styles of the late Medieval period. Also available to go with this font is a special swash version with a very different style, but compatible overall appearance.

Introducing Draftside, a captivating typewriter-inspired font meticulously crafted with a touch of vintage allure. This font seamlessly merges elegance with a cool, timeless aesthetic, rendering it an impeccable choice for a myriad of design applications. Draftside's distinctive charm elevates logos, giving them a unique and sophisticated edge. Whether you're working on branding projects, invitations, stationery, or designing for weddings, this font lends a classic yet contemporary vibe to your creations.

Inspired by an art technique, Chiaroscura is a display typeface that conveys elegance and finesse. It has high contrast, sharp terminals and compact vertical proportions that makes it ideal for headlines. Its classy personality directly relates it to the world of art, fashion, music or literature among others. Chiaroscura is suitable for any piece of communication that requires some refined and sophisticated typeface. For more info visit emtype website.

Introducing Neotype. Abstract font family with colored halves. An interesting and unusual fonts in the glitch style. Combination of clear shapes with soft gradients. Geometric color stylization of letters. Features: - Uppercase and lowercase the same size but different colors. - Transparency in letters. - Kerning. IMPORTANT: - Check the glyphs in the font before buying! - SVG fonts contain raster letters. - Check it www.colorfonts.wtf - Try a FREE DEMO version before buying. ld.luxfont@gmail.com

Stropha is compact slab serif font family that comes with matching Italics. With distinctive differences between letter stems and with five weights only, Stropha is imagined as small, but "all you really need" family. It's original, with characteristic serifs, with deep ink traps, curvy top diagonal endings and gentle curvy touches in details. Contains Extended Latin character set. Fully applicable in any situation, from branding and editorial design to webfont usage.

Script font developed for ParaType in 2007 by Gennady Fridman based on informal handwriting. The handwriting belongs to a woman of middle class that have found her place in the life and does not pretend to get more. It produces a feeling of reliability and promptness. The font can be used for advertising of house goods and in other printed materials where it's important to show informality and personal attitude.

The eight-part Belizio series updates the first Font Bureau typeface. David Berlow’s family is based on Aldo Novarese’s Egizio, designed in 1955 for Nebiolo. It was first prompted by the popularity of Haas Clarendon, designed by Hoffmann and Eidenbenz, an impeccably Swiss revival of the traditional English letterform. Aldo Novarese was among the first to investigate a true italic designed in the Clarendon style; FB 1987–98

Bhilligod is inspired by the flow of fine art, which seeks to present beautiful and fantastical paintings that are romantic in nature, such as history and tragedy. This style was popular worldwide in the 18th and 19th centuries and became an important part of European and Western culture. Therefore, we are very enthusiastic to show our best work in romantic artwork, which we apply in blackletter-style font work.

Golestan is designed by Naghi Naghashian. It is a Font family, in 2 weights, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Golestan design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Golestan’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Golestan was developed for multiple languages and writing conventions. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Pegah is a sans-serif font family designed by Naghi Naghashian in three weights. Pegah Light, Pegah Regular and Pegah Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pegah supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pegah design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

BaBa is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Light, Baba Regular and Baba Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Festivo Font Family is a handmade layered font which includes several textures, shadows. Different font types can be created using various combinations of Festivo Fonts and colors. All fonts of Festivo letters are created as hand-drawn design based on F.L. NO:8 Font's Letters. The fonts No:16, No:17 and No:19 have the same metric and kerning structure than the other Festivo Fonts except No:18. So each one of these 3 fonts are a layer. But they can also be use as wide spaced fonts. No:18 is specific with its metric and kerning structure which was formed by No:17 but No:18 is its bold version. It was designed as a supplemental font. The fonts No:12 and No:15 can be used as shadows. This font family also includes a few ornaments. For your convenience, the files of the fonts were termed by their numbers. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

Babak is designed by Naghi Naghashian. It is a Font family, in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Babak supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Babak design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Babak was developed for multiple languages and writing conventions. Babak supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Hafez is a sans-serif font family designed by Naghi Naghashian in three weights. Hafez Light, Hafez Regular and Hafez Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Hafez supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Hafez design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Damavand is designed by Naghi Naghashian. It is a Font family, in 5 weights, Light, Regular, DemiBold, Bold and Heavy. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Damavand supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Damavand design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Damavand was developed for multiple languages and writing conventions. Damavand supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography.

Pasargad is a new font family, designed by Naghi Naghashian. It is a Font family in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pasargad supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pasargad design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Pasargad’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Pasargad was developed for multiple languages and writing conventions. Pasargad supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Oustad Arabic is designed by Naghi Naghashian. It is a Bold headline font, in 1 weight. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Oustad Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. OstadArabic design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kasha was developed for multiple languages and writing conventions. Nima supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Brexit now has its own typeface. Brexit the type family is made for being slanted one way or another, to offer stylistic choices and expressions, like for or against, or remain or leave. Because Brexit is international, the letters are made to support many languages. The name is given to mark the British withdrawal from the European union. Brexit is an elongated display typeface in three styles. It is a sans serif with contrasts in stroke and shape. Brexit supports languages with latin characters and ligatures as well as Greek and Cyrillic. The italic and contra italic are extremes that can be used to contrast each other or versus a standing regular. Sometimes complex concepts are best communicated in single words, and the typeface Brexit is made for that and more. The typeface works well for clear messages, shop displays, poster work, menus, signage and other purposes where you want to have impact.

Wish to give your design that vintage and classy look? Great fonts inspire emotion, and choosing the right one will push your brand in the right direction. Introducing Glamsy - A Vintage Modern Font. From merch and printed materials to websites and social media campaigns, Glamsy is ready for any project. Try it out and see the impact that a chic font can make. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Weird Better fonts are typography designs that imitate or simulate the appearance of liquids. They are often fluid and dynamic in nature, providing an illusion of movement and flow in letters and characters. Weird Better fonts can be created using different design techniques, including hand-drawn illustrations, digital effects, or 3D modeling software. Some common features of liquid fonts include: Fluid and dynamic appearance: Weird Better fonts have a free-flowing and organic appearance, mimicking the look and movement of liquids such as water, ink, or paint. Variations in thickness: The thickness of the lines and curves in Weird Better fonts can vary, creating an uneven and organic appearance. Versatile use: Weird Better fonts are commonly used in creative designs such as logos, album covers, and advertising campaigns to create an eye-catching and memorable visual impact. Overall, Weird Better fonts are a unique and creative way to portray text, giving a sense of energy, motion, and fluidity to design projects.

Introducing Kronix, a geometric, futuristic font that embodies the essence of technology in the digital age. Kronix combines sleek lines, precise angles, and contemporary design elements to create a visually striking font perfect for technology-themed projects. Its clean and minimalist letterforms embody the essence of modernity and sophistication, capturing the attention of tech-savvy audiences. With its crisp edges and precise spacing, this font creates a harmonious visual rhythm that adds a touch of elegance to any design. Kronix is versatile and adaptable, making it suitable for a wide range of applications, including websites, mobile apps, and branding materials. Its modern aesthetic aligns perfectly with the fast-paced advancements in technology, allowing your design to stay relevant and visually impactful. Whether you're designing a tech magazine cover, creating a sci-fi movie poster, or developing a high-tech product packaging, Kronix is the ultimate choice for adding a geometric, futuristic flair that captivates the imagination and elevates your design to the forefront of modern technology.

Mynaruse Flare is a new version of the Mynaruse superfamily. This version eliminates the elongated serifs of the original, and instead stems end with a flare. You will find that the thinner weights are delicate and beautiful, while the heavier weights provide impact and strength. Mynaruse is inspired by the elegant and regal Roman inscriptional types. The face shines in environments that require elegance and splendor. The eight weights of Mynaruse flare range from a subtle, delicate thin to a heavy and powerful Black weight. Mynaruse Flare includes many useful OpenType features, including a set of swash alternates, alternate titling forms, ligatures and miscellaneous alternates. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. This is a titling font that is ideal for logotypes, posters or other high-end luxury applications.

Wish to add some urban spirit to your design? Looking for a font that makes an impact? Introducing Graff Burner - an Urban Graffiti font. Turn your design into real street art with a font that understands the urban culture. Print or digital, Graff Burner will catch the attention of your audience. Give it a go and see your brand grow. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office Keynote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom-created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Fits is a modern version of the versatile vintage style script. It's clean, legible and easy to use. Fits was meant to be used as an everyday workhorse font, thus its uses are endless - from websites and signage to merchandise and editorial designs. It looks great on product packaging and menus, being easily readable from afar. It has some initial forms and ligatures, as well as fancier alternates for the capital letters (in case you want to spice things up a bit). Unlike its predecessor, BeachBar, Fits has more basic letter shapes which makes it the perfect script for most day-to-day design applications - think apps, websites, merchandise, posters and cards, blog titles, t-shirts, branding and animation projects, etc. As promised, Fits comes in seven weights for a different impact and with a neat set of Cyrillic letters. All in all, Fits is a simple and workable script that will fit most design tasks perfectly.

Introducing our new typeface, Braston - A modern, unique and decorative serif typeface that comes with a binder and alternative characters that are perfect for creating variety in your designs. Braston is a mix of sweet curves with lowercase sets and strong impact fonts for uppercase sets making it even more elegant this typeface will allow you to create stunning and original layouts for print and web, Branding, Logo Design, invitations, quotes, blog headers , posters and advertisements. use it endlessly. Features • Full set of uppercase, lowercase letters • Ligatures • Alternates • Numbers, symbols & punctuation • Characters with accents • Supports Multiple Languages • PUA Encoded WHAT’S INCLUDED • Braston – Regular This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Braston! Feel free to use the #Dora Typefoundry tag and # Braston font to show what you've done Thank You!

Peachi is a serif typeface loosely based on Morris Fuller Benton’s Souvenir forms and some other serif fonts designed in the early 1900s. It has a soft look - round corners, slightly curved legs of capital K, R, V and W; and lowercase k, v, w and y. Rather heavy ball terminals and a very large x-heigh make Peachi a perfect choice for designing titles, book covers, for branding, quotes design - basically any design that needs to make an impact and to be remembered. Peachi is released in 6 weights from Thin to Black and has stylistic alternates that make it even more versatile. While the default style follows Souvenir’s trend, the alternative style looks more modern. It’s totally up to you which style to choose for your design. To access all alternates and ligatures you’ll an OpenType aware application such as Adobe Suite or MSWord. March 2021 Update: more alternates and ligatures have been added!

I made the first sketches for Brocha when I first visited Easter Island in 2011. I took inspiration from pre-Columbian art for such sketches, but I must say that they were kind of rough and clumsy; it was an experimental and limited-use typeface. It took a long time, but thanks to my learning about type design gained over the years, I have finally been able to complete my project. I have made sure to preserve the Latin American spirit of my original designs in order to give my final typeface an expressively handmade, highly humanist look. Brocha is a display sans with friendly design ideal for high-impact headlines, logotypes or use on cookies packaging designs. Brocha consists of 2 subfamilies: one basic and one alternative. Each subfamily comes in 8 weights plus italics. The Alt version is highly recommended for those art directors who look for more varied fonts when designing.