Introducing Culoare V2.0 is the second version of the space bright color gradient font. (The first version is here - Culoare) This is a new set with completely new color combinations, bright and saturated like neon. 3 types of stylization in 9 different color gradient combinations with soft transitions. Letters seem to be backlit and it looks very original in addition to stylish minimalist glyphs. Lots of design use cases. Ideal for promotional illustrations, headlines and covers. Font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Culoare V2 Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different colors. - Transparency in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

This revival of the Bruce Foundry’s No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.

Emeritus is born from the carved letters found on buildings and monuments in Washington, DC. Muscular and low contrast but with assymetrical flared serifs that soften its stately presence. Small caps, inline caps, chiseled characters, and multiple weights and numerals offer an array of typographic voices. Notably academia, military, monumental, automotive, logos, signage, and so on.

Introducing Marcel Merlina - A Lovely Chic Script Font Marcel and Marlina is now released as beautiful as romance is. This font-type gives you the vibe of an elegant and the classic-yet-so fresh kind of feeling. The curves and the flexibility of the fonts provide you the warm and familiar sense—as if you are reading letters from your beloved ones. Marcel and Marlina is meant to be endearing—portray the warmth of love. This font is designed to be used in such occasions which require high involvement of delightful emotion. This font would be best to be used in wedding invitations, love letters, and sincere greeting cards for someone so dear to you. FEATURES - Stylistic Alternates - Ligatures - PUA Encoded - Uppercase and Lowercase letters - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks.

Tacikworks Studio presents Mannish Retro Display Font, an all caps font which is inspired by retro designs. Make the classic impression of this font stand out more. This font has approximately 400+ glyphs characters including uppercase, lowercase, discretionary ligatures and standard ligatures alternatives. It is suitable for creating vintage designs such as logo posters, merchandise, clothing, brochures, business cards and others. It can be accessed by using Open Type savvy programs like Adobe Illustrator and Adobe InDesign. features can be accessed by using Open Type save programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop. So that all the alternate and ligature characters Easily can be accessed in full by a Craftsman or designer. Features: Uppercase Lowercase Numbers Punctuations Stylistic Alternates & Ligatures Multilingual Languages Supported HOW TO ACCESS ALTERNATE CHARACTERS Open Glyphs Panel: In Adobe Photoshop go to Window – glyphs In Adobe Illustrator go to Type – glyphs Not included: Product mockup, design template and textured background.

Sabinard offers a distinctive form of 'Swash' lettering. It is excellent for poster work, or for headings and titles. Its distinguishing feature is the combination of long ascenders and descenders with a small cap height. It has been designed to compliment Greater Albion's Sabio, but also works splendidly as a 'feature' type alongside any Roman Face.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Musical notes and letterforms, silences and white spaces, pentagrams and lines, music and writing have much in common and go beyond time, cultures, styles and locations. This new typeface emerges from the blend between the lyrics and the harmony, rhythm, femininity and luminosity of the traditional musical forms. It`s not about blues or rock, tango or salsa, instead it recovers the neoclassical characteristics of the current musical notation system and revitalize the essence of its signs. Taking care of both the function and the form, Elisetta has been specially designed for the writing of texts and musical sheets considering all its elements and communication needs. This source of inspiration also makes the font really good for extensive texts, since its design is based on situations that require high line performance, great readability and high aesthetic coherence. With 5 variables that vary in weight and style, the typography gathers asymmetry and organic nature in vertical structure, narrow horizontal proportions, high x height and extreme contrast between black and white. Elisetta Book has been created for the writing of clear texts and long lines composed in small sizes inside and outside the pentagram; Elisetta Italic intensifies the organic nature of the musical keys by offering softer signs, contextual alternates and initial caps; finally, Elisetta Display increase and emphasize the contrast between vertical stems and horizontal lines to highlight short texts and titles. For those who love music and for those who like romantic forms, this typography has a lot to offer: Elisetta is the best option to write light words with style, compose clear and rhythmic lines and read comfortable paragraphs with high performance. You can tell everybody this is your font, how wonderful life is while you're in the world! * This typeface was originally designed and supervised as «Elisa», the main project of the Master in Typography at University of Buenos Aires, Argentina.

This sans-serif type family of two weights plus matching italics. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Vitage has a functional look with a warm touch. It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps.

This font is fast. Carving apexes, drafting competitors, and breaking away for the finish line. This is a sleek and extended font family designed for top speed while squeezing into tight places. Zoom is intended for display and would be right at home, nested gently on a carbon fiber bike frame, forged as the nameplate on the back of a vehicle, or printed stoutly on any number of sporting products.

astroluxtype’s Spacepod is a headline display font set. The font contains uppercase and lowercase letterforms with a minimum glyph set. The style suggests weird sci fi from the 1970’s or the far future... you decide? Is this the font for your sci fi western book cover title with a nod to The Matrix in the story or a poster for the movie remake of Westworld? Wherever your ship takes you in the universe Spacepod should be the letterforms on the side of your craft that states, “No rides for damn dirty apes!”

Lythmore This font is called Lythmore and is inspired by Lithos. Lithos was originally designed for Adobe by Carol Twombly in 1990, based it on the lettering from ancient Greek inscriptions. The Capitals are similar in feel and design, but is totally original and built from scratch. It is designed to be similar intentionally, but it is not a clone or rip off. Lithos is an example of a simple blocky san serif font style, with subtly concave sides, angled ends, and off centred curves. Lythmore is also an example of that same style. But is also different in places where I felt it could be improved. And it has a complete lower case set, which Lithos doesn't. I built Lythmore with 8 different weights. Lythmore can be very effective when used in advertising and general display work, but it can also be used for much more. Although it was never designed to be body copy, when used as such, it is still perfectly readable and adds its own version of sans serif style and flavour. I have included two versions of the Lythmore family. Lythmore A and Lythmore B. In the Lythmore A family, the lighter 4 weights all vary in weight in both the horizontal and vertical axis. The heavier 4 weights all vary in the horizontal axis only. In the Lythmore B family, the transition is even in both directions across the entire family. The result of this difference is that the A and B versions difference is most noticeable between the Regular and Medium weights. While the extreme ends of each family version are virtually identical.

Waldo is a bold, stencil-focused display typeface loosely based on a 1973 science fiction movie poster for "The Battle For The Planet of The Apes". Narrow rectangular slots cut into heavyweight forms create a stylish and energetic font ideal for apparel, books, film titles, packaging and posters. Included in the font are over 400 characters with four unique styles; Black, Stencil, Outline, and Shadow. Opentype features consist of digital numerals, tabular figures, numerators, denominators and fractions. Other features cover alternate lowercase f and r, with language support for Western, South and Central Europe.

Newsreel Caps JNL is a novelty caps-only outline letter with cast shadow set inside film frames. Although the design idea itself is not new, this version is based on lettering from a vintage piece of sheet music for a song featured in the movie "Fox Movietone Follies". The font is a wink and nod to Fox's long-running newsreel series called "Fox Movietone News". The upper case keys have black letters on a white frame, while the lower case keys have white letters on a black frame. A blank white frame is on the period key; a blank black frame is on the comma key. Use this font for individual initials, set the characters loose for effect or set them tight (as provided) for a continuous film strip.

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

The Ysobel™ typeface family is not only elegant; it is also exceptionally legible and space economical. A collaborative design effort between Robin Nicholas, as lead designer and project director, Delve Withrington and Alice Savoie of Monotype Imaging, the project had the primary design goal of creating a typeface family for setting text in newspapers and periodicals. The result, however, is also ideal for any application that requires quick and easy assimilation of text. According to Nicholas, “The idea for the design started when I was asked to develop a custom version of Century Schoolbook. I wanted to give the design a more contemporary feel, although the client ultimately decided to keep their typeface closer to the original. The project nevertheless gave me ideas for a new design. Since designing Nimrod, some 30 years ago, I had wanted to make a more modern typeface family for newspapers and magazines – this seemed the ideal candidate.” Ysobel (pronounced “Isabel”) has the soft, inviting letter shapes of Century Schoolbook but contrasts these with more incised serifs and terminals. Its capitals are also narrower than those of Century Schoolbook, and care was taken to ensure that they harmonize perfectly with the lowercase. Ysobel’s x-height is full-bodied without disrupting lowercase proportions. In addition, curved terminals, such as those in the “C,” “c” and “e,” were drawn more open as an aid to legibility and readability in text copy. Weight stress is near vertical, and hairlines are robust to ensure character fidelity in small point sizes. Development began with the text version of the family, which has four weights, each with an italic companion. All weights feature lining and old style numerals, fractions, superiors and extended Latin language coverage. Small caps are also available in the Roman Regular design. Ysobel Display is a completely redrawn version of the typeface; it is narrower, and has a slightly smaller x-height, thinner hairlines and subtle design changes to improve its appearance when set at large sizes. The Display Italic received particular attention to make it ideal for setting headlines, subheads and short blocks of copy. Changes include a slightly greater italic angle and more cursive treatment of some letter shapes. Alternative styles of capital “J” and “Q,” to provide variation, are available in all weights.

Is Rundigsburg a calligraphic face morphing into sans serif or sans serif reverting back to a medieval, calligraphic face? The letters are angular and some retain traces of older letter forms, but the ornamentation is gone. Rundigsburg is decorative but also very legible, suitable for both display and some text purposes. The family has four weights, each with an italics style. There are two shadowed versions and each has an "inside" style designed for uses in layers with its shadowed style to add color. These "inside" style are similar to the light style but the spacing matches its shadowed complement. Among Rundigburgs OpenType features are a few basic fractions and some alternative letter forms.

Originally commissioned in 1979 as a new corporate typeface for Volkswagen AG, the VAG Rounded™ family’s geometric sans letterforms feature distinct rounded terminals, imparting the design with a friendly, approachable demeanor. With its design led by Gerry Barney, the VAG Rounded family remained in use for Volkswagen AG’s unified, worldwide automobile marketing for over a decade. The design was released for public use in 1989, and was bundled with many desktop publishing software titles available at the time. This opened the door for millions of computer users to work with the VAG Rounded type family. Available in four weights—from thin to black the VAG Rounded family is an apt choice for logo design, identity systems, or any application where a typographic warmth is desired. For contrast in voice, consider pairing the design with a more reserved serif typeface, or a sans serif with narrow styles, such as those found in the Alternate Gothic, Trade Gothic, or FF DIN type families.

Montesori is inspired by the economic forms and large x-height with a condensed style and a humanistic-grotesque typeface forms. It is a perfect option for editorial projects, branding, logos and packaging. Montesori comes in a variety of nine weights (Fine, Extra Light, Ultra Light, Light, Regular, Semi Bold, Bold, Ultra Bold and Black) with its two styles (round and italic) classified in two forms, Basic and Alternative. In addition, its case-sensitive shapes, ordinals, scientific inferiors, denominators, superscripts, subscripts, numerators, fractions... make it ideal for posters or infographics.

If you've had too much coffee but not enough of Too Much Coffee Man you can now indulge in an excess of characters created by the hand of Too Much Coffee Man's creator, Mister Shannon Wheeler. Don't worry, in our efforts to ensure clean and confident lettering samples, we kept Shannon on decaf until he was done. Dip this font in your system folder and your hard drive will get a caffeine and sugar rush guaranteed to increase its memory partition and bring the images on your monitor into sharper focus.

Linea 72 is a typical seventies display typeface that was designed by Roland Hirter back in the phototypesetting days, when typefaces were really drawn by hand. In this static environment each work step took its time. With the decision to digitize this typeface his son Thomas Hirter also chose to develop it further with todays technical possibilities. That’s why the font now includes over 600 glyphs and ten stylistic sets, offering different stylistic alternates of several letters. Linea 72 comes in the two original styles Regular and Kontur.

Usually I prefer desserts that aren't overly sweet, but a week ago I lost my sense of tasting - due to Corona, and when I wanted something sweet...I preferred it overly sweet...of course because I hardly could taste the overwhelming sweetness! But now, I have my sense of tasting (and smelling!) back, and everything is back to normal. And since I completed this easy-recipe-inspired handmade font while suffering from Corona, I thought I'd name it Overly Sweet. And...well. because, the font is somewhat overly sweet (without being over the top sweet!)

Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg). It was based on Sorbonne (H. Berthold, Berlin, 1905), which represented the American Type Founders rework Cheltenham of 1896 (designers Bertram G. Goodhue, Morris F. Benton) and Russian typefaces of the mid-18th century. A low-contrast text typeface with historical flavor. The modern digital version was designed at Poligrafmash type design bureau in 1989 by Lyubov Kuznetsova. Corrections and additions were done later in ParaType in early 2000th. Reworked version with Bold Italic style was released in 2009.

Jus Hangin was inspired by the lettering on the cover of the 1999 Counting Crows album, “This Desert Life”. It was one of those child-like lettering styles that was just begging to be fleshed out and made into a typeface that was as wild and carefree as the lettering inspiration. With an open spacing format, and an exuberant baseline bounce, Jus Hangin is fun to typeset with, while alternates and double letter ligatures keep things from getting repetitive. You’ll find Jus Hangin is ready and waiting to announce your festivities.

Nathaniel The "Nathaniel " font family epitomizes beauty and elegance in every character. With two distinct styles, Regular and Italic, this font is the perfect choice to infuse sophistication into your design projects. Key Features: Elegance and Beauty: Nathaniel has been meticulously crafted to ensure each letter is visually captivating. It's an ideal choice for creating stunning quotes and long paragraphs in your designs. Feminine Appeal: This font is perfectly suited for designs with a feminine touch, such as fashion, magazines, and logos with a simple yet enchanting design. Artistic Pairings: Nathaniel seamlessly complements script fonts, enhancing the artistic appeal of your projects. Combine these two font styles to create unique and attention-grabbing designs. Recommended Uses: Inspirational Quote Designs: Use Nathaniel to create motivational and inspirational quotes for social media, posters, or merchandise. Fashion and Magazine Design: Nathaniel is the perfect choice to create a luxurious and feminine look in magazine layouts and fashion promotions. Simple and Classy Logos: Craft simple yet character-filled logos using Nathaniel to represent your brand with unmatched style. Nathaniel is the perfect fusion of beauty and functionality, elevating your design projects to the next level. With this font, you'll be able to create impressive and captivating works. Get Nathaniel today and start making your design projects stand out. Don't miss out on this opportunity! Get Nathaniel now and start inspiring the world with your captivating designs.

Welcome to a world of elegance and grace with BIENUG, the unrivaled classic serif font. Designed specifically for projects with a classic modernism theme, this font is the perfect solution for bringing a stunning, classic touch to your designs. With ligature and alternate features, BIENUG provides unlimited creative freedom. You can combine unique character variations to create an interesting look that is different from the others. Available in a variety of styles, this font lets you explore different nuances and moods in each design. In addition, BIENUG supports multilingualism, enabling you to convey messages fluently in multiple languages. There are no limitations in reaching an international audience with this font. Enhance your designs with the beauty and elegance of BIENUG. Make an unforgettable impression with subtle details and strong characters. Add a touch of classic modernism to your project and present a stunning visual experience. Explore the BIENUG collection now and find power in the beauty of this classic serif. Let this font be your loyal partner in creating eye-catching and memorable designs. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Miss AmyLynn is the Southern scrawl of Former Miss Kentucky, Amy Lynn Brown. Like Chank's other popular handwriting fonts Wordy Diva and Skippy Sharp, Miss AmyLynn reflects a casual, intelligent, and creative personality. This font has a concise supply of alternate lowercase characters so you can create a more organic handwriting display in your designs. You can access these stylistic alternates when you use the OpenType version of the font in Adobe's Creative Suite programs. Amy is co-owner of Chowgirls, an up-and-coming catering company that she started with Chank's business manager. With the ambition to publish a cookbook, she created special characters that are essential for recipes, such as tsp, tbl and oz. Have a closer look and you'll find more exciting and humanifying OpenType features.

Frykas is warm and friendly, hand-drawn font. It has a simple form with subtle irregularities, but no swashes or ornaments. This condensed font family with five styles will be a great solution for posters, titles, short sentences or whenever you need impact.

Defense is an unyielding rectangular slab-serif stencil face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. The stencil mark width varies accordingly with each weight, helping to further define each style. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Defense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ™, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Nagel is a contemporary uniwidth display sans serif for headlines and short texts. It’s a closed low-contrast typeface with an emphasis on stroke joints. The length of the line set in Nagel remains the same in all weights. Nagel has all the advantages of monospaced typeface graphics, but none of their functional disadvantages. Characters in Nagel are made monospace-like wide, as opposed to traditionally narrow characters of proportional fonts, and often have slab serifs. Letters of monospaced fonts that have to be narrowed down considerably, have the usual width here. The scope of Nagel is branding and identity of IT companies, infographics, scientific and technical documentation — any areas where a technical, modern typeface with distinctive graphics may be required. The typeface includes three upright styles — Regular, Medium, Bold; two sets of 11 and 18 slanting degrees and a variable version with two axes: Weight and Slant. The character set includes extended Cyrillic and Latin alphabets, arrows, triangular bullets, index numbers and fractions. Designed by Alexander Lubovenko.

Storefront is what the prolific and talented American sign painters of the 1920s and 1930s would have created if they had access to the advanced lettering and type technologies we have today. Rooted in an incomplete Alf Becker alphabet sample, Storefront is my usual overdose on alternates and swashes, my eternal attempt at giving typesetting that ever-elusive handmade impression. Though the main shapes, especially the majuscules, are almost a standard recitation of the natural evolution of nineteenth century scripts, the additional variants available within the font provide a leap in time to what sign makers and packagers are doing today. I can honestly say that Storefront’s influences are probably less historic and more in line with my recent travels and frequent supermarket visits. It’s difficult to avoid current visual culture when you're constantly bombarded with it. Not that I try. I certainly welcome the overflow. I'm probably addicted to it by now. With a very cool aesthetic, plenty of alternates and swashes, extended Latin language support, Storefront is over a thousand glyphs for your branding, packaging, and sign making pleasure.

Say hello to our new retro bold font, Swipe! Swipe - An seventies font that has both a retro and fun look. It comes with a smooth curve and soft bold with a regular and oblique style that will make your project more stunning with nostalgic feels. Swipe - Have 105 beautiful alternates and ligatures which consist of 4 stylistic sets. Contains 2 styles regular and italic, this font is best used for headings, logotype, quotes, apparel design, posters, flyers, packaging, book cover, and many more. Super-versatile, have a scroll through all the previews to see how wide the range of uses that can be with Swipe, it's so limitless! What you get Letters, numbers, symbols, and punctuation Has 105 beautiful alternates and ligatures Use in many programs even in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

Corporative Sans typeface is developed by Latinotype Team. Corporative Sans is the new version of Corporative. This font has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes. Since it is a condensed font, it can also be used in smaller sizes. Corporative comes with the Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics. Latinotype has added new faces to its team. Latinotype Team now comprises: Rodrigo Fuenzalida, César Araya, Bruno Jara, Luciano Vergara and Daniel Hernández. Corporative was created by Latinotype Team and developed by Javier Quintana, Rodrigo Fuenzalida and César Araya, under the supervision of Luciano Vergara and Daniel Hernández.