Chef Script is an experimental font designed by Carlos Fabian Camargo G. Its fantasy design contains 1463 glyphs to compose words, phrases and short messages on small and large sizes. The idea was born in a sketchbook that was perfected again by hand and achieving "non-neutral drawings" on tracing paper. With bezier digitization the empty and full parts of letters appeared with soft and eloquent curves as calligraphic result produces optimal readability. Chef Script combines warmth and good humor running in countless design applications such as labels and base plates, covers, posters, movie titles, seals and any printed design that needs an unusual typographic tool. In that sense, Chef Script is influenced by Speedball lettering manual (1957), Ross F. George. The illustrative nature of "ChefScript-complete" does not look anything like the traditional type design hierarchies. Therefore offers 7 hierarchical resource groups to design comfortable contexts flavored with illustration and typography: • ChefScript-Basic: Letters with horizontal and vertical thrifty proportions mimic an uninterrupted calligraphy brush made with flat tip. Thus its letters have ascenders and descenders strokes perpendicular to its base line and equal to the height of the lowercase. • ChefScript-Swashes: Letters expressive and unique flourishes to design highlighted words or phrases. • ChefScript-Caps: Uppercase with lowercase height give the impression of interrupted uppercase italics writing within what is written with uninterrupted lowercase letters producing strong contrast within a paragraph fragment. • ChefScript-Containers: Container drawings designed to exchange with infinite possibilities each order so that its inferior serve to store information written or drawn. • ChefScript-Dingbats: Pictograms that communicate: kitchen, chef, restaurant, food, etc. • ChefScript-Numbers: Bulky and useful numbers to highlight prices or figures containing points or dollar signs. • Chef Script-Words: Predesigned words with uninterrupted letters diagonally leveled highlighting various thoughts in writing.

Dynamic, attractive and catchy - the new TypeType display font! Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Cometus is an expressive typeface that captivates from the first time you read a text set in it. Despite its massiveness, the typeface is malleable and dynamic, like a comet piercing the space in order to achieve the only goal - to capture the attention of the viewer. TT Cometus is a slab serif whose strong serifs are serifed at the junctions with the vertical stroke to give the typeface a dynamic and modern character. Thanks to this solution, some elements of the font evoke associations with calligraphic works, while display elements remain stable thanks to massive serifs. The pointed endings of the letters c, y, e, t and noticeable inflows of arches and semi-ovals make the character of TT Cometus dynamic. The contrast between the thicknesses of the horizontal and vertical elements is small, but in the serifs, inflows, and letter endings, the contrast is pronounced. The nature of the font is balanced, and its friendliness is supported by the smoothness of shapes. Oriented towards the viewer, flowing yet massive and dynamic, TT Cometus is suitable for use in eye-catching projects. This is a display font that shows its character better in a large body size and can be used in printed materials or on the web. The font looks flawless in headlines and logos, and is suitable for use in branding. TT Cometus consists of 5 faces: 4 upright and one variable font. Each face has 568 glyphs. The font contains 18 OpenType features, including a large number of ligatures, sets of alternative characters for the ampersand and the letter g.

The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

Gambler is a characteristic display type collection of 7 font styles with both clean and textured -making it total 14 fonts designed to play together. Gambler strikes with witty and elegant appeal combining vintage and modern elements. Gambler is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, prints on garments, restaurant menus, beer labels and so on, both offline and online. Gambler Script is a smooth contrasted script that comes in two weights and it is packed with plenty of OpenType features: Standard Ligatures and Contextual Alternates are automatically on and they help to keep the flow and connections smooth. From Stylistic Alternates you’ll find characters with pointed endings and some other small variations. For extra flair try Swash or Titling Alternates. Gambler Script is PUA encoded so you can access the extra characters in most graphic design softwares. Gambler Brush is a soft brush script with low contrast and large x-height. Gambler Brush comes with following OpenType features: Standard Ligatures and Contextual Alternates that are automatically on and that keep the connections smooth. For less uneven word picture try Stylistic or Swash Alternates. Gambler Brush is PUA encoded so you can access the extra characters in most graphic design softwares. Gambler Flare is a flared serif with sharp edges and wide characters Gambler Flare comes in two weights. Gambler Gothic is a rigid condensed sans serif that comes in two styles: Regular and Shadow. Gambler Gothic Shadow has a narrow lining giving a three dimensional expression to the font. Gambler fonts are designed to play together, in pairs, or all together but they also work great as themselves or combined with other Fenotype Fonts.

Relax. Deep breath. And step away to font nirvana with Cabrito Semi. Like its Cabrito relatives, Semi’s handwriting-inspired feel is mellow and care-free. But don’t misunderstand us. Even with its fun-loving peculiarities, this free spirit will command whatever party you invite it to. It’s a perfect blend of unique and functional. So what’s the secret of this little one’s strength? It’s pure balance. Cabrito Semi’s energy surges from deep within the relaxed, balanced tones of its humanist structure and calligraphic crafting. The 36 fonts of this well-crafted semi serif originate from the popular Cabrito, an insigne design slab serif developed for the kid’s book, The Clothes Letters Wear. Along with its other amigos, Inverto and Sans, Cabrito Semi rounds out this easy-going household of fonts. The four fonts play well together on anything from meals and candy to toys and cars. With the support of the other three, Semi makes a great choice for titles and moderately long text like you would use for websites, flyers, and packaging. Semi’s complete pack of alternates is accessible in any OpenType-enabled system. This kiddo has loads of alternates, swashes, and alternate titling caps to add a bit of sweetener to the balance. Also bundled are swash alternates, old style figures, and compact caps. Preview any and all of these features in the interactive PDF brochure. This font members of the family also consists of your glyphs for 72 languages. So who says you can’t love quirky? Take a look at Cabrito Semi--and any of the other members of the Cabrito family. You’re bound to find yourself loving fun all over again.

Welcome to the futuristic world with The Bokrun, a future-themed font that will color your design projects! Get a unique experience with a modern, futuristic, and sci-fi touch that radiates from each letter. The Bokrun presents impressive futuristic styling with a sophisticated and dynamic design. This font will give a fresh and innovative look to any project that needs a touch of the future. With The Bokrun, you can easily create modern and evocative designs. Not only that but The Bokrun is also equipped with great features that will give you unlimited creativity. Alternate ligatures and characters allow you to create unique and interesting letter combinations. Also, the different font variations give you the flexibility to express your ideas in greater depth. Another advantage of The Bokrun is its multilingual support, so you can communicate with audiences from different languages without any barriers. This font will take you on an international and worldwide design journey. Explore a futuristic world with The Bokrun, and let your every design be a window into the future. Get a modern, futuristic, and stunning design experience with this font. Don’t miss the chance to own The Bokrun, the perfect solution for your future projects that require a modern and futuristic touch. 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

ITC Greengate is the result of a time-traveling, intercontinental collaboration--one between 21st century South African designer Richard Every, and early 20th century Scottish artist Jessie Marion King. Jessie Marion King (1875-1949) began her professional career as a book designer and illustrator, but over time her creativity found its outlet in many forms, including posters, jewelry, ceramics, wallpaper, fabrics, murals, interior design and costumes. After eventually settling in Kirkcudbright, Scotland, she founded Green Gate Close, a center for women artists. Although her style is reminiscent of the Art Nouveau artist, Aubrey Beardsley, King's aesthetic was an offshoot of the “Glasgow Style,” a Scottish hybrid of the Arts and Crafts movement and Art Nouveau. Often, her illustrations included hand lettering. It was just this kind of lettering that gave Richard Every his inspiration for ITC Greengate. When he saw some children's book illustrations that King created in 1898, he knew on the spot he had to complete the hand lettering as a typographic font. He began working on the typeface in 1996, but it took six years to be released as an ITC typeface. Every simplified and harmonized King's letterforms slightly and, most importantly, added a suite of lowercase characters. The result is a somewhat earthy Art Nouveau design, with a character quite distinct from typical digital revivals. Every's career has been as diverse as King's. He was born in Durban, South Africa and studied graphic design at ML Sultan Technikon in Durban. He's been an art director, freelance designer, the owner and manager of a nightclub and co-manager of a South African band. “Through it all,” he says, “typography has always been one of my passions.”

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Gemma was born in Madrid 37 years ago. After spending many years in the capital, she decided to start over again and moved to Barcelona. A series of misfortunes and wrong decisions left her on the street. Gemma is a calm, emotional person who likes to take her time to do things and, if there’s one thing the street can offer, it’s time. The street lets you listen carefully, watch without being seen. Being in the street isn’t pleasant at all. Seeing people who’ve just showered go past makes you miss even more things that many take for granted. Breakfast, a clean smell, paying for a metro ticket. Being homeless is much more than having nowhere to sleep. Life in the street is hard, says Gemma, but she also sees the positive side. “It’s the best way to get to know human beings.” She likes to see the street as if it were a school. A school she has been in and out of for too long.

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Luis Serra was born in Alicante. There he grew up and even started a family His life was there. But at the age of 35 he split up with his wife and decided to go to Barcelona in search of a new life. And it wasn’t easy for him. He had to turn his hand to all kinds of jobs and didn’t manage to find the stability he needed. Luis is a shy, retiring person who takes great pleasure in the little things in life such as walking in the mountains or celebrating the victories of his football team, Barça. After four years living in Barcelona, Luis found himself in a position he’d never imagined. “The street’s much worse now, there’s more trouble, there’s more tension,” says Luís. In the street he had to learn, as he always had, to move fast, to find a place to sleep and something to eat. Luís is one of those people who don’t let circumstances mould him, but adapts to them and always tries to do his best.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterised by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings. This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

Space Armada - A Science-Fiction Font for Out of this World Designs! Space Armada is inspired by a 1980s interpretation of the future, referencing blockbuster sci-fi action movies of the period, along with the emerging video-game consoles and home computer technologies. It's nine unique fonts are designed to work together in a variety of ways, so you can layer it's different styles on top of each other to retro-futuristic effect!* Here's an example of how it works: Start by placing the Regular font on top of the Bold for a simple base outline. Add contrasting gradients to both fonts for an instant metallic or chrome effect. Take it a step further with one of the readymade Outlines for an embossed look. Overlay the Wireframe font for a glimpse inside the machine! This looks particularly good when you apply a glow effect and reduce it's opacity so the other layers show through. That's just one way to use it. Check out my visuals for more usage ideas! You can also follow my short tutorial! Space Armada is an all-caps font with unique uppercase and lowercase characters, along with a range of alternatives for experimentation with different looks. It also includes punctuation, numerals and language support, plus a selection of underlines and symbols. It's a highly customisable font, perfect for retro designs such as movie titles, posters, games, book covers and more! Every care has been taken to ensure that all fonts align perfectly when layering. Due to the variations in how different software handles text tracking, some minor tweaking may be required for pixel perfect alignment.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

Ashemore developed as a result of my visits to Barcelona, Spain and to Germany, followed soon after by a visit to Asheville, North Carolina. Blending the styles of art and architecture from these three areas may seem initially to result in an unusual formula, but the distinct and flamboyant style of Art Nouveau and the Arts and Crafts style combined with the more strict rules of a sans serif transfer well into a beautiful and very usable blend of these individually eccentric forms. The resulting font retains the Art Nouveau and Craftsman style flavors, which shine through the typeface despite its geometric base. One of the font’s defining characteristics is the unique terminators of its C, G and S. This face’s texture and rhythm also moves well in longer texts. These and other features give Ashemore a restrained bohemian vibe that seems particularly appropriate for a coffee house or an art gallery. The Ashemore family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.

The contemporary feel of the Sancoale superfamily takes a bolder turn with this futuristic slab. Built from Sancoale's successfully simple geometry, Slab's serif elements and tall x-height give the face an energetic, yet clean figure that easily complements its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Narrow; and, of course, the original Sancoale itself. The weights of each member have been balanced carefully to ensure compatibility with the others, and when used together, the combination creates a powerful design that is easy to identify. With weights ranging from the classier Thin to the authoritative Black, Slab opens the door to a range of applications. Used in different text sizes, its tech image is legible and neutral enough for longer bodies of copy--both in print and on the web. Have a more prominent need? The web font also stands out well in a headline or even as a display face. Slabís great personality puts a strong foot forward without giving its reader a kick in the teeth. Whatever the task, this font's one to capture the Zeitgeist into your work. All Insigne fonts are fully loaded with OpenType features. Sancoale Slab is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including "normalized" capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Included are small caps, fractions, old-style and lining numbers, scientific superior/inferior figures, complete ordinal and inferior alphabet, and a set of symbols and arrows. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Slab supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging.

Taking its name from the arabic word for "king", Malik is a flared sans serif typeface family designed in 2020 by Andrea Tartarelli. The designer wanted to find a way to bridge the classical letterforms of Roman Old Style typefaces with the readability of contemporary sans typefaces. This was achieved by using the so-called flared serif that emerges gradually from the stem of the letter, ending in a sharp angle. It's something that also reminds of the peculiar shapes of the Simoncini Method, invented by italian type designer Francesco Simoncini to get a sharper definition of letterforms. To this blend of classical elegance and modernist expertise, Malik adds the calligraphic influence of modern masters like Frederic Goudy or Ed Benguiat, visible in signature details like the reverse contrast uppercase B, or the calligraphic lowercase k. Malik also means "owner", and this font surely wants to rule the page. It manages to be extremely readable when used in body text size, but looks surprising and expressive in display use. The inclusion of the Malik Heavy Display weight, with its black texture balanced by deep inktraps, allows for striking logo design. The weight range of the family is extremely wide, including a Book alternative to the Regular weight for fine-tuning readability, a range of light display weights and a solid choice of bold weights for branding, all coming with matching true italics. The 16 cuts of Malik have been equipped with all the features you need to solve your editorial and design challenges, including a wide language coverage (thanks to over one thousand latin and cyrillic characters) and a complete set of open type features (including small capitals, positional numbers, case sensitive forms). Alternate characters and stylistic sets allow you to fine-tune your editorial and branding design by choosing variant letter shapes. Malik is the typeface for everyone who wants to design like a king...or like he doesn't care who the king is!

Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882–1956), Imre Reiner (1900–1987), Walter Brudi (1907–1987), Kurt Weidemann (1922–2011) and Frank Heine (1964–2003). During extensive research phases for Referenz Grotesk included collection and analysis. This led to further research in the Academy’s collection and archive where the majority of Weidemann’s estate is housed next to works of other designers and professors like F.H. Ernst Schneidler and Walter Brudi. Another place of research was the typesetting workshop where Schneidler had previously taught and worked. Some of his freshly cast fonts were tested and used there for the first time and are still stored in several of the type cases. Regarding the more recent history, for instance about the Emigre designer Frank Heine, former colleagues and professors have been consulted. These studies resulted in the new font Referenz Grotesk that includes traces of Kurt Weidemann’s Corporate as well as calligraphic hints that link to Schneidler’s Stuttgarter Schule (Stuttgart School) where writing played an important role during the form finding process. For the regular text fonts these features are integrated in a subtle manner whereas several alternative glyphs pick up more expressive forms. The final sans serif type family has a clarity and contemporary straightness that becomes more characteristic in its heavier weights. Additionally more than 60 alternative glyphs per weight allow for individual combinations that can be tailored specifically for each application and context. They open up a broad range of visual expressions, from subtle to playful and eccentric characteristics. Referenz Grotesk is available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black, plus italics. In addition, the family includes multiple OpenType functions such as Stylistic Sets, Tabular Figures and Case Sensitive forms. Variable version of the font is included when you license the full pack.

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.

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.

Bright Bride - Beautiful Script Font Introducing Bright Bride, a stunning and elegant script font that exudes sophistication and beauty. This font was carefully crafted with the intention of adding a touch of glamour to any design project. Its clean lines and flowing curves create a sense of grace and charm, making it perfect for wedding invitations, branding projects, social media posts, and much more. For those seeking a romantic and feminine touch, Bright Bride is the perfect font choice. Its delicate strokes and intricate details add a level of elegance that is sure to catch the eye of any viewer. Pair it with soft pastels or classic black and white to create a stunning contrast that will make your designs stand out. One of the standout features of Bright Bride is its OpenType alternates and ligatures. These unique letter combinations add an extra level of creativity and customization to your designs. Plus, with full multilingual support, this font can be used for projects in a variety of languages. The Bright Bride font package includes three different file formats: OTF, TTF, and WOFF. This makes it easy to use the font across a variety of design software and platforms. Whether you're a professional graphic designer or a casual hobbyist, this font is sure to be a valuable addition to your design arsenal. If you're looking for a font that is both stunning and versatile, look no further than Bright Bride. Its unique combination of elegance and creativity make it a perfect fit for a wide range of projects. So why wait? Add Bright Bride to your font collection today and start creating designs that are truly unforgettable. In summary, Bright Bride is a beautiful and sophisticated script font with delicate strokes and intricate details. It comes with OpenType alternates and ligatures, multilingual support, and three different file formats: OTF, TTF, and WOFF. This font is perfect for wedding invitations, branding projects, social media posts, and more.

Roc is a sans serif grotesk inspired by American wood types from the end of the 19th century. With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications. Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings. The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space. That is why the contrast between Compressed Thin and Compressed Heavy style is substantial. As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent. It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style. Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline. The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text. Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular. Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table. The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface. The single-story g and the cut-off r are accessible via the OpenType feature.

Colour is more fun than black, but multicolour is even better. Let me introduce URLOP, a wide type family suitable for your fancy posters, headlines, covers, illustrations, websites, initials, blackmails, chronicles, signboards, poems and many others. Twelve basic styles, which make the overall construction, give a wide range of opportunities. All of them, being able to mix with each other, vary from a thin INSIDE, through a medium FILL, to a double-stem PLUS styles. And then comes a range of colour fonts, so you don’t have to waste any of your precious time for experiments, because I’ve already done it for you! URLOP is an all-caps display collection consisting of three sub-families of fonts, divided by the usage they are designed for. First of all, there is a wide range of alphabets made in the new OpenType-SVG colour fonts format. This is quite a novelty and a very promising technology at the same time. It allows designers to store colour information inside the font. Due to my experience with layered colour thinking that I explored in my first family - Epilepsja , I decided to make several preset layer combinations in this auspicious format. This sub-group is tagged RGB. Make sure that your field of usage and software support OT-SVG format. However, if you feel a need to experiment in the old-fashioned way, you may buy separate layers under the DIY tag. The last group is very similar to the DIY, but it was optimized to look better when standing without other layers. It’s called PRO*. All styles cover Latin alphabets of Europe, basic Cyrillic and Greek sets. Have fun! Before using the font, read the instructions and specimen attached to font files in the purchased package or download them from the Gallery tab on this site. This will help you avoid making unexpected mistakes when combining layers. *PRO subfamily release planned in 2019.

In the world of webfonts, Condensed proportions are key to maximizing your page's premium real estate while keeping your copy clean and catchy as you cut down to the essentials. Soon after the introduction of webfonts, I began to see Insigne's Le Havre used frequently for web headlines, not so much for its Art Deco look as for its more compact proportions. There seemed to be a need for a font that was designed to be used solely for the web's unique constraints. Enter Coegit Sans. Coegit is built specifically for web applications. Its highly Condensed forms range from thin--offering the greatest number of uses--to the attractive, accenting black. With three widths--Compressed, Compact, and the widest, Condensed --the family holds a total of sixteen fonts. The typefamily has also been hinted for excellent, onscreen display quality, even at small sizes. Overall, its lighter, humanist features provide the reader a more congenial welcome than its square, sans-serif counterparts can offer. Coegit is equipped for complex professional typography with stems, small caps and plenty of alts, including titling capitals. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The family also includes glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Coegit supports over 40 languages that use the Latin script, making the new addition a great choice for multi-lingual publications and packaging. While the advanced OpenType features of webfonts are not currently supported in many browsers, the near future promises wide support. As acceptance of these features grow, Coegit Sans will prove to be a versatile element for your wide range of web projects.

Cinema Macabre: Horror Fonts Torn from the Pages of Giallo A Hand-drawn Display Font for Creating the Most Diabolical Horror Titles This loose and inky brush font takes its inspiration from the classic Giallo film posters of the 1960s to 1980s - a cult cinematic subgenre beloved for its stylish visuals, haunting soundtracks and exploitation led marketing. It's a devilishly drawn design that aims to capture the feeling of vintage horror, preserving analogue details of old print while remaining versatile enough to work across a variety of digital designs. The Cinema Macabre font family boasts six fonts, each containing a unique set of uppercase and lowercase characters, as well as numerals, punctuation and language support. Add to this a host of custom ligatures, underlines and graphic elements and you have an essential toolbox for creating truly hand-made looking title designs. Cinema Macabre if a font that rewards experimentation by mixing all the various upper and lowercase alternatives, with interesting combinations waiting to be found and inspire terror across your own movie posters, book covers, albums and editorials. Few other fonts offer the versatility to create such diabolical designs! A Brief Introduction to Giallo: In popular cinema, Giallo is a genre of mystery fiction and thrillers often containing slasher, psychological horror, exploitation, supernatural and erotic elements. The term giallo (meaning yellow) derives from a series of pulp novels published by Mondadori from 1929 taking the name from its trademark yellow covers. The series consisted of Italian translations of mystery novels by well-known authors such as Agatha Christie, Edgar Allan Poe and Raymond Chandler. The popularity of these cheap paperbacks eventually established the word Giallo as a synonym in Italian for a mystery novel. The cinematic Giallo subgenre developed during the 1960-80s and are noted for their vivid cinematography, memorable soundtracks and inventive gore-filled scenarios. Key examples include Dario Argento's Suspiria, Tenebrae and Deep Red - stylish films that at once influenced the American slasher (see Black Christmas and Friday 13th) up to todays horror in Censor and Last Night In Soho.

A classic “American” sans serif with a kink Desphalia belongs to the kind of sans serif fonts that were created in the 19th century. You could also name it “American Gothic”, a sans serif in the style of fonts like Franklin Gothic, News Gothic and similar. Above all, the high x-height characterizes this typeface style, as do the identical heights of uppercase and ascenders. However, I allowed myself a few peculiarities ;-) On the one hand, there is the gently sloping horizontal middle line on letters such as H, E, F, A and e. The M also got gently slanted sides. Some of the lower-case letters have an up- or down-stroke: a d m n p u. This "kink" on the shaft also serves to better distinguish the small l from the capital I — as can be seen clearly with the term »Illinois«. In keeping with the tradition of American typefaces, Desphalia does not have a true italic. Rather, the letters of the “Italic” have the same character forms as the normal upright variant, but in oblique — and so it is not called “Italic” but “Oblique”. Style Set 01: Another American peculiarity is the capital I with dashes above and below. It is included in the Desphalia as an alternate character form. An alternative small l with the “kink” in the ascender is also included — as is a y with the “kink” in the descender. Style Set 02: The corresponding “straight” forms a d l m n p u without the break are included as alternatives in a separate style set. Small caps are uppercase letters that are optically the same size as lowercase letters. They offer a very classy way of emphasis. Desphalia is available in the widths Condensed, Normal and Expanded, the weights include Thin, Light, Book, Bold, Black. Using the variable font, all intermediate levels can be freely selected. The figures are optionally available as tabular figures, proportional lining figures or old style figures.

Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink Neue is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink Neue adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. With three different widths, Flink is a true all-rounder. Geometric fonts are usually quite wide, which often leads to text-settings problems with headlines or small print. The Condensed and Compressed variants of Flink Neue solve this problem easily. This font family comes along in 18 weights from Thin to Black with matching Italics. There are almost 1400 characters per style, including nine stylistic sets that offer variations to the look and feel of Flink Neue, making it even more versatile. Besides the default mood of Flink Neue, there is also a Text and Bauhaus variant, where different letters have been changed to create a new mood. In theory, you just need one single font file to change between all three moods, but to make it easier for you, we also exported each mood within a separate file. Plenty of additional Open Type Features like ligatures, small caps, case sensitive forms, old-style figures, tabular figures and symbols make Flink Neue a valuable tool for the discerning typographer. Flink Neue is the reimagination of a classic genre, designed to suit the needs of our time.

Lievin is an exceptional slab serif font that stands out for its simplicity, clean lines, and captivating elegance. What sets it apart is its unique ability to effortlessly adapt to diverse design needs, making it a versatile choice for any project. With an impressive range of 50 variable styles, ranging from delicate thin to bold and massive black, Lievin caters to a wide array of typographic demands. Its versatility makes it perfect for various applications such as posters, marketing materials, logotypes, headlines, books, magazines, and more. One of the defining features of Lievin is its impeccable balance of classic charm and contemporary appeal. Its sleek and refined aesthetic adds a touch of sophistication to any design. The font's exceptional legibility ensures that the message is conveyed with clarity and impact. Lievin pairs harmoniously with a range of typefaces, making it an ideal choice for combination and layering. It complements sans-serif fonts, such as Helvetica or Futura, creating a visually dynamic and engaging typographic composition. Beyond its visual appeal, Lievin boasts an extensive character set, providing support for multiple languages and typographic features. This allows designers to express their creativity and accommodate different linguistic requirements. The design concept of Lievin is rooted in the desire to create a timeless and versatile slab serif font that would seamlessly integrate into modern design practices. Its clean lines and balanced proportions ensure legibility across various media and sizes, while its elegant charm adds a touch of sophistication. Lievin is the result of a meticulous creative process aimed at delivering a font that captures attention and makes a lasting impression. It combines the best of traditional and contemporary design elements, offering a fresh take on slab serif typography. As a modern typeface, Lievin is an original creation, not based on any historical design or revival. It embodies a contemporary interpretation of slab serif fonts while incorporating functional aspects that cater to the needs of today's designers.

Clean and geometric deco sans typefaces have been used in a range of scientific publications, corporate logotypes, and beauty products over the years. However, a typeface of this style has yet to have an expansive range of widths and weights to become a design workhorse, until now. The Sunblock family finds its origin of inspiration in the Coppertone sunscreen company logo, and from there expands to type megafamily. Sunblock celebrates the rounded geometric forms of deco and bauhaus lettering through a compressed lens, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its soothing tone from the limited character logotype that inspired it, and goes on to include a lowercase, small caps, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Sunblock Collection bundle: 643 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 7th graphic for a preview of the characters included) 21 fonts in 5 width subfamilies: Ultra Condensed, Extra Condensed, Condensed, Semi Condensed, & Standard. 5 weights per subfamily (except Ultra Condensed): Thin, Light, Regular, Bold, & Black. Fonts are provided in both TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Sunblock Collection is for you: You're in need of a deco geometric font family with a big range of weights and widths You're love that Coppertone letter styling, and want to design anything within that genre You're looking for an alternative to Chalet Comprime with a more versatile range of styles You're looking to start up your own derivative Sunscreen product line You just like to collect quality fonts to add to your design arsenal

Vintage Glamour comes with an aesthetic style, and its serif-type tagline is Vintage and elegant. This font comes in eighteen thickness levels, from thin to black, to suit your needs. Vintage Glamour is also equipped with the latest professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It goes well with modern serifs and scripts that depict or stand firm as titles and brand representatives for an elegant look. Vintage Glamour has 18 font styles ranging from thin to regular and italic. This will go a long way in creating the perfect impression, giving you many options you'll want to use in each design. Vintage Glamour also comes with multiple languages, making any country and language easy to use. It also comes with alternative Ligatures and styles to make your designs more attractive. Vintage Glamour is suitable for branding projects and various design purposes such as business cards, name tags, and uniforms as a brand enhancement. Advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. Supports languages: Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Thalweg serif typeface is a project focused on the digitalization and development of the Thalweg font. The font was originally designed in 1993 by the Bulgarian artist Ivan Kyosev. In 2018 Ani Dimitrova began the revival of the Thalweg font and converted the drawings into a digital form. The existing set of characters required some necessary expansions such as the development of capital letters, alternative symbols and many other functions. Furthermore, some additional weights were developed which aimed to make the font more complete. Thalweg was completed in 2020 with 16 weights ranging from Thin to Black with extra drawn italics and small caps versions, each style containing more than 1100 glyphs. The font comes with an extended coverage of the Latin, Cyrillic and Greek Scripts. All of the weights are specifically equipped for complex, professional typography with Open Type Features. These features include: Small Caps, Ligatures, Discretionary Ligatures, Superscript, Subscript, Tabular Figures, Old-Style Figures, Circled Figures, Arrows, Matching currency symbols and fraction. The Thalweg serif typeface is a perfect choice for body text, branding design, web design, editorial design and more. Ivan Kyosev (1933-1994) was one of Bulgaria’s most famous artists whose work influenced several generations of bulgarian designers. He was born on February 5, 1933, in the city of Burgas. In 1957 he graduated in illustration at the National Academy of Art in Sofia led by Prof. Iliya Beshkov. Mr. Kyosev was a member in the management of the “Graphics and Illustration” section in the Union of Bulgarian Artists, member of the UBA board, artist in the publishing houses “September” and “World”. Together with Boris Angelushev, he worked on the layout design of the “Literary Front” newspaper. Furthermore, in 1963 - 1964 he was the main artist in the publishing house “Prosveta”. Ivan Kyosev excelled in the field of illustration, book design and library layouts in various genres (classics, children's literature, poetry, journalism, memoirs, etc.). He is also the author of many fonts.