In parts of Africa, in the poorer, rural and peri-urban areas there are many small shops or convenience stores which are called "Spaza" shops. The owners of these shops often don't have access to commercial signwriting and write their signs themselves. The font "Spaza" is based on these hand-lettered signs. This lettering has a refreshing simplicity and spontaneity, yet retains great legibility. In the font "Spaza", there are three styles: - Spaza Regular - with normal upper and lower case; - Spaza Small Caps - in which the lower case is a true "small caps" and not a shrunken version of the upper case (generated by the operating system); - Spaza Double Caps - in which the lower case characters have been replaced by an alternate set of capital letters. The font thus contains two sets of differing upper case characters. You can use characters from both these sets to give a true feeling of randomness because if the same character occurs twice in a word, different versions of the character can be used. Spaza can be used with great effect in a great variety of applications such as advertisements, flyers, posters and in magazine pages. Spaza contains a full character set and has been carefully spaced and kerned.

Run your hand under the tap and then thrust your fingers in the electrical outlet nearest to you* and you'll get the same effect that our latest release, ZZZAP will have on comic book readers everywhere when Electro, The Shocker, Black Lightning, Storm and Darth Sidious turn the dark side of the force on them. *The management accepts no responsibility for any adverse effects experienced by comic book font users who stick moistened digits into the power supply after installing this font for the purposes of comparison (it's probably best to just take our word for it). Batteries not included, void where prohibited.

A set of vintage lettering templates manufactured by Albert Nestler in Germany yielded this Art-Deco flavored typeface with many unusual letter forms. Lettering templates were used for decades by architects and draftsmen prior to other advanced lettering methods to label renderings, blueprints and layouts. Although they are similar to stencils in the fact that the lettering is traced, templates are designed to produce solid lettering with the use of a technical pen.

Drone is a deliberately misproportioned typeface, inspired by hand-drawn lettering found in Spanish/Hispanic Catholic churches in the Philippines and Los Angeles. These naive letterforms appeared to be ‘copies of copies’ – and in aiming to recreate the beauty of the Vatican and the Sistine Chapel they instead created something unique with its own charm and beauty. As a curious aside, the forms are reminiscent of those found in 16th century English calligraphy too. Drone is available in two styles: No.666 and No.90210.

Being inspired by early Czech type design, Maiola is clearly a contemporary typeface, that is mindful of its historical heritage, implementing old-style features and calligraphic reminiscence, more frankly so in the Italic. Nevertheless, through its personality, it attempts to create a welcoming tension on the page, without shouting too loudly at the reader. It handles its expressive tendencies with care and in doing so increases its usability, with legibility being of great importance. Subtle irregularities of the letterforms enhance furthermore the dynamic spirit and liveliness of the typeface. With the advent of Opentype, allowing for bigger character-sets and better language support, as a natural consequence, Maiola Multiscript covers Latin A, Cyrillic and Greek. Although basically independent from each other, they are, however, designed in the same spirit as the Latin, and harmonize well in multilingual text settings. The update to this beautiful font family includes the addition of over 240 glyphs featuring new ornaments, stylistic alternates, ligatures, superior letters, fractions and more. Furthermore, several glyphs were significantly improved and the kerning was fine tuned for better performance. Originally released in 2005, Maiola was an immediate success. It won the renowned TDC competition in 2004 where it was also recognized as a “judge’s choice”, was part of the touring exhibition e-a-t, and was selected in the Creative Review design competition in 2005.

Ciseaux Matisse was inspired by the exhibition Drawing With Scissors, which I visited at the Kunsthalle Schirn in my hometown of Frankfurt am Main in 2003 and the book Jazz published in 1947 by Henri Matisse. Admittedly, before that time I wasn’t a fan of Matisse’s work, neither his late nor the early work. That definitely changed after the exhibition. While his motifs have been overused on postcards and mouspads, in front of the originals you forget those tiny pictures. Some of the works were massive—larger than 24ft. By cutting directly into the color Matisse created shapes with strong dynamics. Years later, in 2007, I used that inspiration to cut an exclusive font for a newspaper that I designed at that time (see Gallery Pictures). Later I developed that font into the four styles featured here. The cut-out style is a paper cutout; boxed is the paper background. Both linear and boxed linear have no curved outlines, so they are more aggressive. As drawing with scissors implies, all characters are cut by hand. With only uppercase letters, this font is designed for editorial use: headlines, slogans in ads, or musical usage in posters and flyers that need the little touch of the jazz scissors. In special cases the lowercase letters contain alternate shapes to the uppercase forms.

Our main purpose while developing this typeface was to reconstruct, in the most precise way, the first ten plates of the “Arte de Escribir”, in a chapter named “Enseñanza de la letra italiana, y sus principales variaciones, autores, sistemas, &c.”, dedicated to the analysis of the Italian Script. We decided by this plates because those are the few that don’t refer, directly or indirectly, to any author in particular. We strongly believe that these plates reflect the freedom of his very own calligraphy and are closely related to the calligraphic style that was a success among the spanish calligraphers: the Spanish Bastarda.

The type “Vandalismo 26” is a tribute to the calligraphy style that 'screams' over the front of the buildings in the center of São Paulo/Brazil. This underground calligraphy, known as "pichação" or "pixo”, is a movement that expresses disagreement and rejection against the system. For some critics, this “vandalism” is considered to be the most disruptive and conceptual contemporary art today. It is a type to be used in headlines. Vandalismo 26 is a mix of the chaotic pixo style representing the nonconformity of a generation. It is a protest to the system in a typographic format.

Bombelli is a font that looks like it has been handwritten by a meticulous architect in one of those hand-drawn blueprints of the old days. I chose the name to honor one of my ex-bosses -- a graphic designer-architect who taught me a lot of things when I was young and needed the money. One of the things he taught me – and probably the most important one – was to always be on time in the morning. He never said a word about me being late, but it worked. He taught me about being meticulous in detail and many other things I only appreciated much later. This clear and straightforward font deserves bearing his name. Your grateful type designer Gert Wiescher

A little ditty from France circa the 1940s called "J'ai Rêvé Dans Tes Bras" (which loosely translated means "I've Dreamed in Your Arms") offered up its title hand lettered in an interesting Art Deco sans. This formed the basis for French Pastry JNL, a tasty typographical tidbit further preserving the wide choice of lettering styles hand-crafted for popular sheet music of past decades.

Street Tag vol 2 is the second version of Street Tag fonts. Inspired from realistic caligraphy tagging style in many big cities. This style is more bold and readable, perfect for your “street art” designs style. I combined the real graffiti experiences into computer fonts, I think it will be different with other fonts if you can feel it, cause I draw graffiti, tagging and throw ups since I was high school. The real tagging style is never be tidy, but don’t worry, I already adjust the kerning and spacing in the best possible way. You’ll find the better result when you adjust the kerning, and edit baseline manually, especially for the alternates font, if you unfamiliar with these one, you can find many tutorials in youtube, for the example https://www.youtube.com/watch?v=251cTL029M4. what will you get You’ll get some alternates in several alphabet, see that in the font preview, some sample fonts I change the dot in “I” to stars, and I add ‘ into “O”, sometimes we do that in the real walls! You can explore more with this font!

Black Pearl is a revival of an ornate calligraphic font possibly created between 1850 and 1870. I spent two years looking for all the letters of this font; once I found them all, I immediately went to work on recreating this old classic. I was not able to find any numbers for the font, so new to this style are numbers, some punctuation and currency symbols. The Truetype and OpenType formats include an extended character set with Central and Eastern European accented letters. Extra characters in this font are left and right pointing hands in place of the less than and greater than keys; a ship’s wheel, located on the asterisk key; and a boat anchor on the bracket keys.

Having spent all of my teenage years in the 90s, it's no surprise that this very particular decade resonates so deeply in me. As a graphic designer, I still think the strongest visual languages of the last 50 years or so come from that time. Bold aggressive attitude is what most people remember from those designs. What they seem to forget—or, rather, to have completely ignored—is that some incredibly elegant and subtle styles emerged from those years. It still amazes me how they reflected so well the period in which they were conceived, taking style construction to the next level. Riff is a natural development of some of my thoughts about the 90s. Mixed with a very contemporary feel, it embodies several idiosyncrasies I absorbed over years of exposure to favorite design pieces, fonts, music, films and other cultural products that share the same spirit.

Introducing a vintage look label font named "Biker Whiskey". Typeface contains small letters, capital letters (several of them have alternates), numbers and punctuation characters. Biker Whiskey font have two styles - clean and rough. Each of styles have layered effects with texture and shadow, for preview of styles look at screenshot. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

Every designer has a favorite geometric sans serif. For a century, they've been a staple for text that needs to be clear, strong, architectural, and objective. Mimolette offers a sans serif family that's great for text and display alike—the panache of Neutraface, the readability of Avenir, the sleekness of Avant Garde, the strength of Mark, the architecture of Gotham, and the classic lines of Futura—but she's entirely her own creature, and she's designed to offer maximum versatility and beauty at an affordable price. And she's got some nifty features, too! Her italic is a true italic, not just an oblique. Are the uberpointy diagonals (AMVW) not working in a particular context? Activate Stylistic Set 01, and they become flat-topped! Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k. She's got true small caps in all styles! She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths. Best of all, perhaps, Mimolette was made with love, as always, by yer pals in the Ampersand Forest.

Hello friends! Drawing is a great way to pass the time. Sometimes, clumsy people can spill paint on paper or on an already completed drawing. What do we end up with? A ruined drawing or a new work of art? I think the latter. After all, every drawing is unique and a unique thing. Even if you are drawing a stick man! This font presents the opportunity to see what happens if invisible ink is spilled on it. This font is great for your new and unique projects for social media, lettering and just for home use! A little sloppy, a little bouncy, so it's so lively and magical! I wish you good luck and love!

Franko Luin, Odense's designer, on this typeface: With Odense I entered the field where Optima reigns in royal majesty. The first question I received was, in fact, why I designed another Optima. Look closely: Odense has as much in common with Optima as Garamond with Baskerville. Am I right? Odense Neon is a special variant that can be used for logos or single words. I had the idea for it when I noticed that the neon tubes in a sign over a store only partially followed the characters. The name comes from the Danish town Odense, the town of the famous storyteller Hans Christian Andersen, author of, e.g., 'The Little Mermaid.' Odense is also the place where the first book in the Nordic countries was printed, the 'Breviarium Ottoniense', in 1482.

Based on the handwriting and sketches of American experimental composer John Cage, this set was produced in conjunction with The Museum of Contemporary Art in Los Angeles and the John Cage Trust. This unique collection includes 52 graphic extras culled from the composer's notes and scores, as well as the "Cage Silence" font inspired by Cage's seminal work 4' 33".

No secret here: this typeface was inspired by the opening credits for the television series "Justified." Alternate upper and lowercase letter to achieve the effect, or—in OpenType-savvy programs—activate the Contextual Alternates (calt) feature. Thin numbers can be found in these positions: ~^{}[]|\<>. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

One of countless variations possible from the modular lettering system called "Super Veloz", developed by Spanish type designer Joan Truchut-Blanchard in the 1930s. This particular variant, for whatever reason, was called "Bob" in the style sheet announcing the system, and it seemed particularly apt. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

This time I touched another classic manuscript for my font. The Lindisfarne Gospels is an illuminated manuscript probably produced around the years 715–720 in the monastery at Lindisfarne, off the coast of Northumberland. It’s the work of a monk named Eadfrith. He was a highly trained calligrapher, and he used insular majuscule script in the manuscript. I’m happy to present you the Regular and Colored styles for your design. --- You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! --- You’ll get: * Initials & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Please feel free to request any help you need: kaer.pro@gmail.com Thank you!

Époque Seria is that kind of person who looks really cute when angry. This font was derived from the Époque family. She is the little sister to Époque - a little shorter with her smaller x-height and — how do you say it in the typographic circle — your eyes are also smaller (and you know you squint when things get serious, isn't it?). The genealogy of these font face is undeniable, but Époque Seria has a ‘personality’ very different from her older sister. The reduction of the x-height also shakes somewhat with the cap that had crossbar. To accompany the package of standardization, the letters that don't have their straight axes were changed, which brought to the set more Cs and Gs contemporaries. In addition, other measures were taken as a greater softness in the variation of the weights and the abandonment of the black weight, being considered too heavy for this version.

This unusual display face is another in a series of works based on the work of lettering artist Samuel Welo. The sinewy curves and radiant inline decoration give this typeface a cozy, warm and inviting charm. Named after the informal radio addresses popularized by Franklin Delano Roosevelt in the 1930s. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

This family, which includes faces in light, book, bold, and ultra weights, more stroke contrast than is typical of sans serifs, making it very legible in text. Because of its large x-height, it is recommended for used in point sizes ranging from 12 point upward. Of course, it functions well in display sizes, too. The contrast between the four weights makes this family optimal for use in hierarchical advertising systems, and corporate identity uses.

Poleno is a custom typeface originally designed in 2006 for the Slovak folk dance ensemble Poleno, as a part of their corporate identity. Ever since, new weights have been added to complete six variables and two different options for accents. The typeface adds a fresh, bold and non-rational feeling to headlines and titles in books and posters in display sizes where emphasis and detail are equally important. Randomly-generated contextual alternates included in the family contribute to add a distinctive look to words with repeating characters, whenever they occur next to each other. The difference between the Poleno Set and the Poleno Alt Set is in the accented characters. In the first one, accents are merged with the characters and in Alt version, accents are separated from the characters.

Mantika Book expands the Mantika super family: a contemporary serif font with a soft, yet robust character and a classic lookMantika Book, an Antiqua, is the third member of the Mantika super family, which consists of the Mantika Sans and Mantika Informal. Designer Jürgen Weltin has gone back to the roots of his font, which he had originally derived from a Renaissance Antiqua. These origins are recognizable in the first member of the Mantika family, Mantika Sans, in the form of carefully suggested line use and a contrast in the weights that recalls the Antiqua. This solid sans serif, optimized for use in text, also has a particularly energetic and dynamically designed italic. Mantika Informal also brings to mind a cursive font at first glance; ultimately, however, it is not easily categorized. Its light, organic shapes combine the informally flowing style of cursive handwriting with the open and airy form and contrast of a humanist sans serif. The shapes in the serif Mantika Book are also based on the Renaissance Antiqua, just like the other members of the Mantika super family. However, the contrast in the weights is somewhat stronger than is conventional for this genre, and the serifs are characteristically asymmetrical, with slanted ends. Lightly grooved stems with an implied curvature in the lower-case letters as well as dots whose shape flirts with a fountain pen lend the Mantika Book a dynamic and particularly friendly character. Details like the open "g" or the contoured foot of the "k" emphasize this dynamism. The letters of Mantika Book have the same large x-height as the other members of the super family, but are equipped with somewhat longer ascenders and descenders.

DF Pigtail is the result of a curious marriage of the 'free'-form of writing with the fixed (mono) space for each character of the typewriter typeface. In the early sixties of the last century, typewriter typography became popular as a Fluxus vocabulary. The Fluxus art movement (in fact a Dada like follow up) which encouraged a do it yourself aesthetic, and valued simplicity over complexity and anti commercialism over the conventional market-driven approach. I was educated in the mid seventies when this form of typography was still very popular and was even applied in corporate design. This particular letter has been used by my teacher Jan Begeer to compose his design assignments. Recently I rediscovered this type and was struck by its pigtail similarity and drew it my way.

‘Skiart Serif Leaf’ has been on a long growing path getting to where it is now. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, although they were subtle. This font ‘Skiart Serif Leaf’ is the next in the series. After many reiterations, ‘Skiart Serif Leaf’ was built and rebuilt many times until finally, this version deserved to be presented to the world. Style and flow had been added to this font. It remained fully readable and feels as clean and normal as any of the best body copy serifs, and yet has an original modern flair to it. The font feels strong and solid while having a subtle organic flow in its form. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Leaf’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. This font may be organic but is not in anyway script like. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Leaf’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Leaf’ font. Much more friendly than the stuffy double storied versions in fonts like ‘Times’ etc. ‘Skiart Serif Font’ comes with a somewhat organic italic.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Mundial translates as “Worldwide”, this name is a statement: the idea of synthesizing characteristics from different traditions in a single typographic style. Here and there you can see gestures that are clearly associated with different eras and cultures, but not to be confused: the main characteristic of Mundial is the summary, the cohesion and the sum that results in more than each individual part. Mundial is a typeface for this time in which individual identity marks, are the best aid to build a world together.

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

Basmala - An Arabic Style Typeface NEW Ramadhan and Islamic font, Basmala, is an Arabic-styled display typeface. This Islamic Ramadhan Arabic font is perfect for any graphic design related to the Islamic style. You will get an Arabic feel to every text you type using this font. Made with Latin characters so that it can be read internationally which does not have to be able to read Arabic characters This Islamic font is suitable for branding, product packaging, quotes, flyers, posters, logotype, apparel, T-shirt, Hoodie, book covers, movie title, advertising, and more. Features; - Uppercase, Lowercase, Number, and Punctuation - Special Alternates and ligatures - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. - Mültîlíñgúãl Sùppört for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy our font and this font is useful font for your projects!

Saleha - An Arabic Style Typeface NEW Ramadan and Islamic font, Saleha, is an Arabic-styled display typeface. This Islamic Ramadhan Arabic font is perfect for any graphic design related to the Islamic or Arabic style. You will get an Arabic feel to every text you type using this font. Made with Latin characters so that it can be read internationally which does not have to be able to read Arabic characters This Islamic font is suitable for branding, product packaging, quotes, flyers, posters, logotype, apparel, T-shirt, Hoodie, book covers, movie title, advertising, and more. Features; - Uppercase, Lowercase, Number, and Punctuation - Special Alternates and ligatures - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. - Mültîlíñgúãl Sùppört for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy our font and this font is useful font for your projects!

SK Dusha is a playful geometric decorative font based on the combination of the modern Cyrillic alphabet and Glagolitic characters — the ancient Eastern European alphabet. Each letter and number of this font has a stylistic alternative, which increase the variable capabilities of this typeface. In addition, the font supports a multilingual set — extended Latin and Cyrillic, which makes it available to almost the whole world. Now in every corner it will be possible to get acquainted with the unique forms and geometry of Slavic writing, which is available for use in modern design.

The Federal Art Project division of the WPA (Works Progress Administration) employed numerous artists, musicians, actors and other creative sorts in a effort to help many survive the Great Depression of the 1930s. One of the posters created by this project was for a "Card Party and Barter Benefit" with proceeds going toward the Nassau Art Teachers Benefit Fund - taking place at the Coca-Cola plant in Rockville Centre, New York. East Village JNL was derived from this poster, and is available in both regular and oblique versions.

Imagine having a formula for sunshine. I mean, in a way to make the sun shine when you want it, or really need it. That could be for a day at the beach, or for the plants in your garden - or even better: make someone happy with a little bit of sunshine! I made this font on the first day of summer in Denmark 2020 - the rounded corners and the soft and easy look of Sunshine Formula, really got me into the "this-is-going-to-be-a-great-summer" mode! :)

Creeps is based on a series of drawings by Britton Walters. You can't escape the Creeps, they are everywhere! Be they looking at you funny on the bus or telling you about their collection of chicken bones in the break room at work. There is a little creep in us all.

A clean and balanced humanist grotesque. Like many an alchemical process, this font had to be designed and redesigned from the ground up many times. Each time it blew up in the designer's face until finally the conditions and process were in perfect alignment and this new font was born.

SK Moreau is a sans serif font named after the famous science fiction novel "The Island of Doctor Moreau" written by H. G. Wells. This font family includes a total of 12 fonts and 7812 glyphs. In this way, it contains all the typographic elements you will need in your designs.