The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Typography is the art of crafting letters and shaping language, and for designers, selecting the right font is crucial. Every typeface has its unique personality and can evoke different emotions, which is why selecting the right one for your project is essential. With that in mind, we introduce to you the You’re Gone typeface—a true gem in the world of typography. This rounded techno typeface with an industrial vibe from the 1980s is the perfect way to add a unique, technical edge to your message. Its dauntless strokes and mellow, rounded edges create an industrial look with a contemporary twist, making it the ideal choice for designers looking for something fresh and modern. With its distinct, detached letterforms, You’re Gone is perfect for capturing attention and leaving a lasting impression. This typeface is ideal for all kinds of design projects, from branding and packaging to websites and social media graphics. Its bold, techno look is perfect for businesses in the technology, manufacturing, and industrial sectors. You’re Gone is a versatile typeface that can be used in a variety of ways. Its rounded edges and thick strokes create a distinctive and memorable look, while its technical vibe adds a sense of professionalism and expertise to your message. It’s the perfect way to stand out in a crowded marketplace and make a bold statement with your design. Overall, if you’re looking for a typeface that combines industrial vibes with a contemporary twist, then You’re Gone is the perfect choice. With its bold, rounded strokes and detached letterforms, it’s sure to make a lasting impression and give your message the edge it needs to stand out. 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.

Islandia is simple script font with wide characters. It's relaxing font and easy to use, you don't need any design software to access all characters. Islandia doesn't have uppercase, the uppercase replaced with lowercase that contains tails or swash in the front. Standard multilingual characters, numeral and punctuation included.

Rioma is a geometric typeface inspired by a legend of type design: Antique Olive. As a font family, Rioma ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. Those weights run from Light to Heavy. While the static-format fonts offer a good intermediary-step selection, users who install the two Variable Fonst have vastly greater control over their text’s stroke width.

Between the most rigid geometric letterforms and the most expressive calligraphy works there are, undoubtedly, countless combinatory possibilities. Ingeo is just one of them. Located very close to a geometric approach it shows, however, a clear willingness to accommodate in its structure the calligraphic traits of our alphabet. In Ingeo geometry grows from the inside, meaning that all its counters are based on geometric shapes. Around them, contours are later defined. The solid mass resulting from that interaction is modulated in specific areas in a way that evokes the way a writing hand finishes a letter and starts the following one. Ingeo seeks to accommodate calligraphic features in its geometric structure without any complexes, in the same way a computer engineer writes a song or a poet admires the orbits of planets and satellites. In this vast and unmapped realm between seemingly opposing concepts is where Ingeo finds its playground. There, that interaction is pushed to its limits and the resulting letterforms are later confronted with typographical conventions to assess whether they survive. Ingeo comes with 695 glyphs in its character set with support for more than 270 languages. Among these glyphs you can find 5 stylistic sets, 19 useful science-related icons as well as 7 different designs for ampersands.

Euroscript Pro is the handwriting of Ralph M. Unger, a very talented and hard-working German type designer. Unger has redesigned a large number of beautiful ancient typefaces during the last few years. Peter Rosenfeld of profonts persuaded him to try and produce his own very beautiful handwriting. Kind of hesitant at the beginning of the design process, Unger's joy and excitement about the project was continuously growing during the design process. He designed not only the standard character complement West, but added all of the Eastern European Latin glyphs and, on top of that, even the complete Cyrillic characters. Born and grown up in Th�ringen, former East Germany, Unger has a fair knowledge of Polish and also Russian (Cyrillic). Euroscript Pro is a very beautiful, casual, informal and modern handwriting of a contemporary type designer. Even though a digitized handwriting, it keeps a very natural and pleasant look, at the same time being generous and well-readable. The individual characters combine quite easily and perfectly with no need for extra variants.Euroscript Pro is well-suited for plenty of applications, e.g. personal correspondence, invitations, greeting cards, headlines etc.Euroscript Pro is supplied in the complete Latin character set (West + East) plus Cyrillic.

Athelas Arabic, created by talented Iranian designer Sahar Afshar, is an elegant typeface for fine digital and printed books — perfect for Arabic literature’s captivating forms. Originally designed independently, it worked entirely on its own and yet already seemed a good fit for Athelas. So it was decided to give Athelas Arabic a thorough reworking to make them appropriate companions while maintaining the natural aesthetic qualities of Arabic. First, the Arabic letter sizes were readjusted so as to not appear larger next to the Latin, then weight and contrast were changed in the same way. Finally, the spacing and connections in the Arabic were considered to achieve comparable colour as the Latin in a block of text. Ultimately, both the Latin and Arabic are graceful designs based on classic proportions, prioritising the beauty, tranquility, and fluid nature of the wordsmith’s art. With extensive Middle Eastern language coverage and the expected OpenType features, Athelas Arabic is the counterpart for which Athelas Latin, Greek, and Cyrillic have been waiting. The graceful, elegant curves of the Athelas heritage have remained a hallmark in each script. With this release it will only gain a wider and quite appropriate audience. The complete Athelas family has been optimised for today’s varied screen uses, along with our entire catalogue.

This is a digital revival by Cristóbal Henestrosa based on an experimental typeface named Charter, designed – yet never fully accomplished – by the prominent William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristóbal used for Mon Nicolette were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards, in applications such as fashion magazines, soft news, advertising, poetry, albums, and book covers. This project started ten years ago, while Cristóbal was studying the Type@Cooper Extended Program at New York City. A previous version was selected to be part of the Biennial Tipos Latinos 2018, and now Mon Nicolette is finally ready for commercial distribution with Sudtipos… and we are very proud of it! Festina lente.

Mexica is a typographic tribute to Nahuatl, the tongue of the Aztecs, but also the lingua franca of ancient Mexico. ‘Mexica’ is not only the feminized, latinized form of the word ‘Mexico’, but also the name of the inhabitants of this place: the Me-xic-cah. Nahuatl, when composed in the Latin alphabet, abounds in diagonal letter shapes: XYZ are ubiquitous in its classic orthography, just as KW are in its modern one. This visual feature is further enhanced by the absence of some rounded letters such as BDG that depict inexistent sounds in this millenarian tongue. Besides, Nahuatl is language with a tendency to form very long words that give the text quite a distinct appearance, unlike English, for instance, with its abundance of short words. Mexica was designed to look well in all these contexts, and to perform as well as a contemporary, daring, stylish serif type family, with several weights for text and display composition. Further, its terminals and general structure —devoid almost completely of straight lines—are inspired by the angled architecture and ornamentation of the ancient city of Mexico- Tenochtitlan. Mexica received an Award of Excellence at the Type Directors Club of New York annual competition.

Phrygia is the Greek name of an ancient state in western-central Anatolia (modern Turkey), extending from the Eskişehir area east to (perhaps) Boğazköy and Alishar Hüyük within the Halys River bend. The Assyrians, a powerful state in northern Mesopotamia to the south, called the state Mushki; what its own people called it is unknown. We know from their inscriptions that the Phrygians spoke an Indo-European language. Judging from historical records supported by ceramic evidence, settlers migrating from the Balkans in Europe first settled here a hundred or more years following the destruction of the Hittite empire (ca. 1200 B.C.). Most of what is known about Phrygian archaeology and its language derives from excavations at the capital city Gordion, located about 60 miles southwest of the modern Turkish capital of Ankara (also a Phrygian site). Gustav and Alfred Körte first excavated Gordion in 1900. The excavators did not reach Phrygian levels, but they did reveal burials dated to the late eighth century B.C. with Phrygian ceramic, metal, and wooden artifacts. From 1950 to 1973, Rodney S. Young of the University of Pennsylvania led excavations at Gordion. Archaeological work at the site resumed in 1988 and continues to the present.

Shahira Script is a modern calligraphy design. Shahira is a girl's name meaning "Famous", "Known" and is of Arabic origin. This typeface is casual and beautiful with swash. Can be used for various purposes such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes, and more. Shahira Script includes changes in OpenType language style, binders and international support for most Western languages. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Shahira Script is coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Letter Books, and Windows users can use Character Maps to view and copy one of the additional characters to attach to your favorite text editor / application. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, let me know. I am happy to help! Thank you and Happy Designing!

Litza is a layered, condensed, all-caps cross stitch display type family. It is made up of 10 layers that show different stages of stitching and can be stacked, moved around, and coloured separately in order to create interesting effects. The ten layers come in 3 weights; Light, Medium, and Bold. The 3 weights can also be mixed with one another to create a vast range of combinations when stacking the layers. Litza has multilingual support and includes glyphs for a wide range of Latin and Cyrillic languages. The family also contains a set of ornamental borders and over 80 decorative symbols in the shape of various animals and objects. Combining the various Litza layers allows you to create eye-popping, intricate, experimental typographic compositions that are rich in detail - with ease. The condensed, geometrics sans-serif letterforms and playful nature of the Litza layering system give a contemporary feel - while at the same time retaining a nostalgic and tactile quality due to its reference to traditional needlework techniques and patterns. Ideal for use at larger point sizes where the unique, stylish effects can be best expressed - Litza will add a touch of intrigue and work best in headings and emphasised text for poster design, editorial design, packaging design, and motion design.

FF Signa is a typically Danish typeface, rooted in architectural lettering rather than book typography. Originally designed for signage—hence the name—FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-into-typeface” conversion, FF Signa received a Danish Design Prize in 2002. FF Signa is radically different from most sans serif text typefaces that were published during the 1990s. It neither belongs in the “humanist sans” category, nor is it on the list of typefaces based on 19th-century grotesques. Its concise letterforms and a minimum of detail produce clear and harmonious word images. Yet its proportions are classical, and the underlying geometry has been subtly adjusted in order to create letterforms which are at once interesting, harmonious, and contemporary. These features make FF Signa pleasant for reading, even at very small sizes. The typeface has developed into a versatile family, with Condensed, Extended, and Correspondence versions. Later on Signa Serif, Stencil variants and a Signa Slab family added even more versatility. The resulting FF Signa type system may be used for corporate identities, brochures, magazines, communication, books, and on-screen publications.

Мир is Mir. The Russian word Мир (Mir) means both World and Peace. The rendezvous of the two terms seems quite unique and utopistic today, but it is comforting to see that it was natural at some time deep down in Russian history. Bits of both meanings were going through my mind while I was designing this typeface. Mir’s character set is multiscript – Latin, Cyrillic and Greek – and extends to many parts of the linguistic world. In fact it covers more than 100 languages. Stylistic consistency between the language systems make typographic border crossings painless even where national borders are still closely guarded. And in regions where mathematics, physics or chemistry are to be expressed, a rich set of OpenType features lets Mir master also these situations. Serious things are best be said in a relaxed, unpretentious way. So Mir doesn’t put on a show. Mir has authority without being authoritarian, it is serious but not stern. It can explain difficult things and stay calm and down to earth at the same time. Mir Medium has another useful feature: It can be freely downloaded and used by anybody anywhere. You can test the Mir Family with free Mir Medium and get more styles when you need them. @juliasys

FF Kievit Serif subtlety melds oldstyle design traits and a 21st century mien into a clean, straightforward suite of typefaces. As part of the FF Kievit super family it helps brands carry their voices effectively and legibly. This includes small text to display sizes, in both print and digital environments, for internal and external audiences. FF Kievit takes inspiration from classic designs like Garamond and Granjon, and is available in seven weights, plus italics. Drawn as a collaboration between Michael Abbink, Paul van der Laan, FF Kievit Serif is a natural extension to the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Slab. FF Kievit Serif stands on its own as a multi-talented and exceptionally legible design. Large counters, a generous x-height and ample apertures ensure that FF Kievit Serif translates well to both hardcopy and interactive environments. FF Kievit Serif is available in carefully defined weights, ranging from Light to Black. The Regular, Book and Bold weights are ideally suited to long form text copy. Ligatures, several suites of numbers and small caps are also available. In addition, FF Kievit Serif benefits from the same extensive language support of the other designs in the family.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. Caslon Black was designed by Dave Farey in the ITC library.

To obtain maximum pleasure in working with Hangulatin, please use the typeface as follows: 1 Open an OpenType-savvy program 2 Select the "Hangulatin“ typeface. 3 Copy the following test text into your document: HEL LO WORLD ! THE QUICK BROWN FOX JUMPS O VER THE LA ZY DOG . If this fails to bring about the desired result, please make sure that you are using an OpenType-savvy program and that usage of the OpenType features is activated in that program. Standard graphic programs are suited to that purpose. The same applies to Microsoft Word starting from the 2010 version upwards.To have fun and success with your new typeface, please write all words in the format shown in the sample text, i.e. all syllables need to be written in capital letters and separated from one another using spacecharacters (for single letters leave 2 spaces). If, however, a desired syllable is not to be substituted, proceed as follows: Please check + to see whether it is a word from the English language; + whether the word has been spelled correctly; + whether the word has been subdivided into syllables correctly; + whether the syllable has been terminated with a space character (allow 2 spaces for single letters).

Peleguer typeface is the reinterpretation of the characters that the valencias goldsmiths Peleguer Manuel, father and son had opened and merged between 1779 and 1783 on behalf of the Royal Economic Society of Friends of the Land of Valencia “in order to create a Factory letters. Then during that time, reached 6 degrees of open letters (small pica, pica, gross pica, text, great primer and double pica). It appears that the letters never were done, and were themselves Manuel Peleguer who kept the punches and dies, leading to create a foundry-printing which only came out 5 or 6 books or documents for the single year of 1784 . One of these books, “Praise in the solemn funeral service …” made ​​with the degree of “gross pica” samples were selected to take the characters for subsequent drawings on the following parameters for the unity and a contemporary look to the source: Keep the proportions of the original source (but unifying the shapes of the serifs, as these were different according to repose at baseline or in descending order). Match the counterforms and match the fallen traces from the cursive. En short, “catch” the formal essence of the source and following update current typographic design criteria to achieve a source with good legibility and subtle personality.

Change Serif is a typeface family designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021. The main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms. The starting point was the preparation of most of the glyphs provided in unicode for Latin, Cyrillic and Greek. From the formal point of view, the Change family is based on Renaissance proportions with contemporary details. Classic upright version is paired with expressive and calligraphic italics, inspired by the works of Robert Granjon. Each of the styles contains about 4,000 characters, allowing for a broad range of typesetting capabilities – multiscript publications, historical translations, and texts transcription. The crucial aspect was to treat all scripts equally. All OpenType features, such as swashes, final forms, decorative ligatures, can be found in Latin, Cyrillic and also Greek. The name of the typeface refers to the design process in which there are constant changes and corrections. On the other hand, it means to convey how this project influenced my perception of typography and allowed me to embrace it as a medium of artistic expression. Due to its similar proportions, Change works perfectly with the Gaultier typeface.

Wolby is a rough and organic hand drawn typefamily which draws inspiration from a variety of sources such as sign painting, hand lettering, comic books, cartoons, health food, sticks and stones to name a few. The letter shapes were all originally created by writing with a pointed brush. The use of one writing tool results in an aesthetical harmony between the very different styles making them all fit together. The family consists of eight styles; upright and slanted caps in regular and bold, a layered block style in fill, outline and shadow styles and a lively script. Wolby is capapble of creating very different moods depending on which style you choose to highlight. Because of it’s aesthetics, range of styles and extensive language support, Wolby is especially suitable for use in advertising, packaging design and gritty branding & fashion design. When using the layered block styles you’ll get the best result by placing the shadow layer on the bottom, the fill in the middle and the outline layer on top. These can also be combined freely so you can use just shadow + fill, shadow + outline or fill + outline. The script style is armed with a set of ligatures and swash capitals which allow you to supercharge your designs.

Tombo Brush is an interesting font that combines brush font’s artistic and organic characteristics with even line edges which are clear and firm. Furthermore, the capital letters express more modern, simple impressions by following the brush script font’s characteristics of the soft and smooth brush wipes, yet the even smooth lines on the edges show clearer, firmer nuances. Bright and contrast colors can show interesting, dynamic nuances on designs with this font. The even edge lines will ease the application of colors and show clearer visual effects separated from the background. You can apply this font for big text sizes for a legibility reason and also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Tombo Brush fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Mugio is the latest addition to our San Serif font family. Mugio is a one-of-a-kind font that can be used for any project. It includes a lot of qualities that make it particularly powerful and handy for making elaborate designs. This font’s slanted letters and curves make it ideal for logos, flyers, posters, and a wide range of other typographic projects. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

A warm duo of fonts in front of you! This is a super duo with lots of ligature. This is perfect for logos, wedding invitations, easter, posters, business cards, logos, headlines, Instagram stories, youtube stories, book cover, poster promotion and many more! Get the best pairing fonts with Chelsea Olivia!

Makeba Retro Funky Groovy Font is a fun and funky display font that brings back the spirit of the 70s. Its bold, rounded letters feature groovy curves and playful embellishments that exude a retro vibe. This font is perfect for creating eye-catching titles and headlines for posters, album covers, and other retro-inspired designs. The font’s energetic and upbeat personality is sure to make any project stand out.

This beautiful handwritten font we made very attractive with a natural touch we worked back to clean smudges and into smooth lettering it's easy when you cut as well as print stickers and other cool work you're working on this font has 3 front swashes and 3 back swashes for lowercase and one alternative for uppercase, 98 ligature Fonts include uppercase and lowercase letters, punctuation numbers, and language support

Rundfunk-Antiqua was originally designed as a font for small point size and shorter texts. It was presented 1933/35 by Linotype Designstudio but unfortunately never developed as a font family, including only Antiqua roman and sans-serif bold. Such an unusual combination resulted from the font combinations common during that time. The font’s basic forms tend toward the Transitional style but its details come from the influence of Jugendstil.

Prosto Sans - this font family for any occasion. You can use these fonts almost everywhere. The modern open grotesque forms and classic font family formula: Thin, Light, Regular, Bold, Black and Italics. Prosto Sans is the assistant to work for any projects. Optimized for the websites, mobile applications, and printing materials. We offer you to have a look at this font’s narrow version, which is called TT Prosto Sans Condensed.

This is the Cased version of my NorB Pen fonts are being inspired from Arial Round font, I use this font regularly in my jazz lead-sheets. It's a handwritten text font emulating marker permanent pen. You can use this font with any word processing program for text and display use, print and web projects, apps and comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! Pen cased font8 weights, each with their matching italics and in a Light, Normal, Bold and Heavy version.

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

TT Barrels useful links: Specimen PDF | Graphic presentation | Customization options TT Barrels is an elegant scotch style modern serif with strong industrial accents in its design. The TT Barrels project was born from a fictional technical assignment in which we tried to combine the technological effectiveness of industrial production used in engineering and the restrictions imposed by it with a beautiful scotch style serif. We decided to create a typeface that could be used to press letters on the metal body of a car, all while the typeface being elegant, and possessing sophisticated details that are typical of the classic text fonts of the late 19th and early 20th centuries. In the process of designing and sketching, we reconsidered certain aspects and abandoned some of the requirements imposed by the technology of metal letter pressing, for example, from the extensive application of visual compensators, the decreased strokes contrast, and the hyperdeformation of individual letter elements to preserve a more pronounced rhythm of these elements. First of all, we wanted both to maintain the ease of reading for the entire text array and follow the rules of aesthetics of each letter in the typeface, while still leaving some influence of industrialism. In the end, this influence is best manifested in serifs, which are quite massive and have a technologically exaggerated wedge shape. TT Barrels consists of 12 fonts: Light, Regular, DemiBold, Bold, Extrabold, Black and the corresponding Italics. Each outline consists of more than 750 glyphs and includes small capitals, ligatures (for Latin and Cyrillic alphabets), stylistic alternates, old-style figures, and many other useful features. FOLLOW US: Instagram | Facebook | Website TT Barrels OpenType features: ordn, c2sc, smcp, case, frac, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga, calt, salt (ss01). TT Barrels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Owned is a stunning embodiment of the urban aesthetic, with its authentic marker graffiti look and feel. This typeface is a perfect fusion of style and substance, as it captures the essence of streetwise design. Its pragmatic ligatures are not only visually appealing, but also accentuate the natural irregularities of an urgent scrawl. The beauty of Owned lies in its diversity, as it brings together a wide range of stroke weights and angles to create a dynamic and powerful effect. The overall effect is one of urgency, as if the words were scribbled on a wall in a hurry. This typeface commands attention and grabs the viewer’s eye, making it a perfect choice for bold and impactful designs. Owned is an exceptional typeface that is sure to make a statement in any design project. Its unique features and smart design will add an edge and grit to any design, making it a must-have for designers who want to create a bold and unforgettable impact. Whether you’re designing a logo, poster, or website, Owned is the perfect graffiti typeface to add an urban flair to your project. 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.

Introducing Gnuolane Stencil, a captivating typeface that exudes sophistication and style. Inspired by the timeless elegance of grotesque models from the early twentieth century, Gnuolane Stencil is the perfect combination of classic and modern design. With its superelliptical 1960s feel, Gnuolane Stencil will transport you back to an era of cool, sleek lines and understated elegance. The slim stencil design lends a serious and authoritative air to any message, making it the ideal choice for logos, headlines, and other high-impact designs. But Gnuolane Stencil is more than just a pretty face. This versatile typeface comes in five different weights, allowing you to find the perfect balance of boldness and subtlety for your project. And if you’re looking for even more creative options, be sure to check out the plain version called Gnuolane and the playful, bouncy variation known as Gnuolane Jump. So whether you’re looking to add a touch of vintage flair to your designs or simply want a typeface with character and charm, Gnuolane Stencil is the perfect choice. Try it out today and experience the unique personality and style that only Gnuolane Stencil can offer. 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.

Ahoy there, folks! Have we got a typeface for you! It’s called Autoradiographic, and it’s inspired by those trusty old warning signs from back in the day. You know the ones…“Inflammable! Stay away!” And boy oh boy, does it have personality! Back in the post-WWII era, low waistlines were all the rage—but let me tell you, strict waistline alignment was not. No, sir! That’s where Autoradiographic comes in. It’s informational, sure, but it’s also neat as a pin and chock full of personality. And listen to this—Autoradiographic has everything you need to crunch those numbers like a pro. Mathematical symbols? Check. Fractions? Check. Currency symbols? Check, check, and check. And for those times when you really want to make an impact, Autoradiographic’s italics are narrow and loosely spaced. Now that’s what I call a typeface with some serious sass! So what are you waiting for? Grab a copy of Autoradiographic today—it comes in five weights and italics, so you’re sure to find just the right fit for your project. Don’t miss out on the chance to add some mid-century flair to your work—you won’t regret it! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

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.