Attention all design enthusiasts! Are you tired of the same dull typefaces dominating the design world? Look no further than Ohitashi, the daring and unconventional creation by Typodermic principal Raymond Larabie. In a world where twentieth-century sans-serif typefaces reign supreme, Ohitashi breaks the mold and blazes its own trail. Larabie has masterfully infused this typeface with a unique blend of humanistic stroke contrast, spontaneous licks and curls, and incised detail, resulting in a one-of-a-kind design that defies convention. But don’t let the unconventional nature of Ohitashi fool you. This typeface offers a practical range of three weights—standard, semi-bold, and bold—making it an incredibly versatile option for any design project. Whether you’re looking to add a touch of personality to a marketing campaign, or looking to revamp your brand identity with something fresh and new, Ohitashi has got you covered. So why settle for the same boring old typefaces when you can break free from the rut favored by reductive competitors? Embrace the unconventional with Ohitashi and see your designs come to life like never before. Trust us, your audience will thank you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Looking for a font that packs a punch? Look no further than Thump! This bold and beautiful sans-serif typeface is just what you need to add some oomph to your designs. Thump is a font that isn’t afraid to be itself. Its heavy letterforms demand attention and exude confidence. But don’t let its weight intimidate you—Thump is actually quite easygoing. Its relaxed letterforms create a friendly, approachable vibe that’s perfect for any project. One of the best things about Thump is its rich, thick strokes. They give your text a sense of depth and texture that’s hard to achieve with other fonts. It’s the perfect way to add a little fun and unfettered style to your message. But Thump isn’t just a pretty face—it’s also smart. Thanks to OpenType technology, common letter pairs are automatically swapped to create a more genuine, hand lettered impression. It’s the kind of attention to detail that sets Thump apart from the rest. So whether you’re creating a poster, a brochure, or a social media graphic, Thump is the perfect choice. It’s bold, it’s beautiful, and it’s ready to help you make a statement. Give it a try and see for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

It's a heavy and pop font that I imagined to be a naughty child. There are three kinds of "YanchaPop" which is easy to use with standards, "YanchaPopRounded" with a gentle impression which rounded the corner a little, "YanchaPopJitabata" of a cheerful image tilted randomly. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). This font is bold, recommended to use it for headlines and prominent places. It might be good for shop pop etc. I think it would be fun to make people around us happy like a naughty child. ＜「やんちゃポップ」紹介文＞ やんちゃな子供をイメージした、太めのポップ体です。 スタンダードで使いやすい「やんちゃポップ」、角を少し丸くした優しい印象の「やんちゃポップRounded」、ランダムに文字を傾けた元気なイメージの「やんちゃポップじたばた」の3種類がございます。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応。縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字（約6700文字）に対応しているので、使いやすいかと思います。 太めのフォントなので、見出しや目立つ場所に使うのがオススメです。お店のポップなどにもいいかもしれません。 やんちゃな子供みたいに、周囲の人たちを楽しくできるようなフォントになればいいなぁと思います。 ＜スタイルカテゴリー＞ ポップ体、角ゴシック

Roundabout is a typeface that is extracted from an ellipse shape. Each and every character started at the same geometrical figure. By cutting it up in sections, twist and rotate the separate characters could be build. The ellipse provides this typeface with evident and smooth looking features. The name Roundabout is misleading, an ellipse is not round. But the word Roundabout has a nice ring to it and it seems to fit this typeface perfectly. The Roundabout as we know it is a place where the traffic circles. Sometimes in the greater metropoles it jams like clotting veins. Various exits are presented for those who know which way to go, for those who don’t it seems an eternal treadmill. Unlike my typeface, that seems rather careless, light weighted and knows her way around. A roundabout in a child’s mind is a playful carrousel or a merry go round. Merry go round has the sweetest sound and a match is found. My Roundabout is a joyful, optimistic and open typeface, which can be used over and over and over again for many or any purposes. ----- Roundabout ist eine Schrift die aus der Form einer Ellipse entstand. So teilen alle einzelnen Zeichen denselben geometrischen Ursprung. Durch das zerteilen, verdrehen und verflechten der elliptischen Grundform konnten die separaten Zeichen so geformt werden, dass sie einen klaren und weichen Charakter erhielten. Der Name Roundabout scheint auf den ersten Blick etwas irreleitend - ist eine Ellipse ja nicht wirklich rund. Er hat aber einen schönen Klang und doch eine tiefe Verbindung zu dieser Schrift. In unseren Gedanken ist Roundabout ein Kreisverkehr: Manchmal, in großen Städten, kann er blockieren, so wie eine verstopfte Ader. Verschiedenste Auswege zeigen sich denen, die ihr Ziel kennen; für alle anderen erscheint dieser Ort wie eine endlose Schlaufe. Dieses Bild widerspricht dem Auftreten meiner Schrift, welche eher sorglos und leichtfüßig ist; sie kennt ihren Weg. In dem Kopf eines Kindes jedoch ist ein Roundabout ein verspieltes Karussell, ein „merry go round“. ,,Merry go round“ klingt bezaubernd und so fiel die Entscheidung. Meine Roundabout ist eine fröhliche, optimistische und offene Schrift, die immer und immer wieder genutzt werden kann, zu jedem erdenklichen Zweck.

Fantini is the revival and elaborate update of a typeface called Fantan, made in-house and released in 1970 by a minor Chicago film type supplier called Custom Headings International. In the most excellent tradition of seriously-planned American film faces back then, CHI released a full complement of swashes and alternates to the curly art nouveau letters. Fantan didn't fare much among the type scene's big players back then, but it did spread like electricity among the smaller ones, the mom-and-pop type shops. But by the late 1980s, when film type was giving up the ghost, most smaller players in the industry were gone, in some cases along with little original libraries that existed nowhere else and became instant rarities on their way to be forgotten and almost impossible to resurrect for future technologies. Fantini is the fun and curly art nouveau font bridging the softness and psychedelia of the 1960s with the flirtatious flare of the 1970s like no other face does. Elements of psychedelia and funk flare out and intermix crazily to create cool, swirly letters packed with a lot of joy and energy. This is the kind of American art nouveau font that made its comeback in the late 20th century and is now a standard visual in the branding drive of almost every consumer product, from coffee labels to book and music covers to your favorite sugar or thirst-crunching fix. Alongside Fantini's enormous main font come small caps and three extra fonts loaded with swashy alternates and variations on plenty of letters. All available in all popular font formats. Fantini Pro, the OpenType version, packs the whole she-bang in a single font of high versatility for those who have applications that support advanced type technologies. In order to make Fantini a reality, Canada Type received original 2" film specimen from Robert Donona, a Clevelander whose enthusiasm about American film type has never faltered, even decades after the technology itself became obsolete. Keep an eye out for that name. Robert, who was computer-reluctant for the longest time, has now come a long way toward mastering digital type design.

For everyone wishing for a modern serif that’s as clear and readable as a sans in restrictive digital environments, meet Portada by Veronika Burian and José Scaglione. Sans serifs are commonly used on small screens to save space and carry a modern tone. Serifs may appear fickle and unsteady, pixel grids change from one product to another, and space is at a premium. Portada now provides a serif option for these restrictive digital environments, putting that old trope to rest. The screen has met its serif match. Portada was created from and for the digital world — from e-ink or harsh grids to Retina capability — making it one of the few serifs of its kind. Portada’s text and titling styles were engineered for superlative performance, making great use of sturdy serifs, wide proportions, ample x-height, clear interior negative space, and its subservient personality. After all, words always take priority in text. It’s not all business, though. Portada’s italics contain an artefact of calligraphy in which the directionality of the instrokes and the returning curves of the outstrokes give the family a little unexpected brio. Yet even the terminals are stopped short of flourished self-absorption to retain their digital clarity. When printed these details are downright comforting. Portada’s titling styles enact slight changes while reducing the individual width of each character and keeping the internal space clear. Titling italics have increased expressiveness across a few characters rather than maxing out the personality in each individual glyph. Digital magazines, newspapers, your favourite novel, and all forms of continuous screen reading benefit from Portada’s features. This family can also cover many of the needs developers have: user interface, showing data intensive apps on screen, even one-word directives and dialogs. And, as a free download, an exhaustive set of dark and light icons is included to maintain Portada’s consistent presence, whether as a word or an image. The complete Portada family (eight text styles, ten titling styles, and one icon set) is designed for extensive, clear screen use — a rare serif on equal footing with a sans.

Protipo helps information designers work smarter. Veronika Burian and José Scaglione’s Protipo type family is an information designer’s toolbox: a low-contrast sans of three text widths with a separate headline family, accompanied by an impressive two-weight icon set, and working with the advanced variable (VAR) font format. From annual reports and wayfinding to front page infographics and poster use, designers consistently turn to the simplicity and starkness of grotesque sans fonts to get their point across. Protipo is made for such environments. When designing information you may start with the headline, which in the case of this family is called Protipo Compact and comes in eight weights. From Hairline to Black, set it large, overlap it, or let it run off the page. Protipo Compact was made to hit hard and attract attention with a different character set and different proportions than the three text fonts. It sets the stage for what’s to come. Great information designers are aces at melding form and function, so we’ve stacked the Protipo family with Narrow, Regular, and Wide versions as a way of organising your information and directing the reader. Each width has seven distinct weights (light to bold) and italics, while maintaining the round-rect shapes of its DNA. Subtle details amplify its place in the typographic universe, like an ‘a’ and ‘e’ that go from solid to supple when italicising, an ‘f’ that gains an italic descender, two versions of the lowercase ‘r’ and ‘l’, and clipped corners on diagonals to keep the tight fit inherent to this kind of design work. Protipo is not meant to be loudmouthed, but stakes its claim through refinement, breadth, and impact. Some changes at first don’t seem substantial, but the Protipo family doesn’t handle text like most in its category. Protipo helps readers find and process data in a clear and unequivocal way and accounts for the complexity involved in rendering large amounts of information while still appealing to aesthetics. Protipo is ideal in all informative situations: apps, infographics, UI, wayfinding, transport, posters, display, and even internet memes. Add to all this the icon sets and upcoming variable font capability, and you’re assured a level of creativity, productivity, and impact on a much greater scale.

Inspired by early grotesque typefaces such as Akzidenz Grotesk and Venus, Werksatz is our contemporary interpretation of this beloved genre. Some things are timeless. These are the things that only get better with use. The aforementioned typefaces certainly belong into this category. Rediscovered by designers from every generation again and again, they are here to stay. However, as tools evolve and technology moves on, even a well-tried design has to adapt to this evolution continuously in order to stand the test of time. Werksatz is such an adaptation, taking the best from the invincible classics and infusing them with the warm blood of today’s tech. With 10 weights from Thin to Black, each with painstakingly fine-tuned obliques, and more than 940 characters per style, this font family is ready for the future. Its Extended Latin support ensures you won’t miss a letter in any of hundreds of languages. Special glyphs like three variations of arrows and additional shapes will make your design work so much easier—for well-structured forms as well as radical editorial layouts. Among a treasure trove of OpenType features, you’ll find essentials such as Capital Spacing, Case-Sensitive Forms, and Ligatures, but also advanced functions like Small Caps, Subscript and Inferior figures and letters, plenty figure sets (Lining Figures, Tabular Figures, Old-Style Figures, circled and squared figures, figures for small caps … you get the idea), Slashed Zero, and more. You’ll discover that Werksatz is less formalistic and rigid than your average neogrotesk typeface. Sure, you can use it for serious business—whether in corporate design, branding, editorial design, publication design, or web design for industries and topics ranging from politics, government, management, or law to technology, entrepreneurship, commerce, or finance. However, Werksatz is much more versatile than that. Its more human appearance also allows for effective use in culture, fashion, art, entertainment, sports, exhibitions, leisure, and luxury. It’s an excellent choice for wayfinding applications, apps, packaging, and all kinds of nonfiction books. Other Grotesks with big names are left behind outdated by their proprietors, but Werksatz is here to stay. The classic industrial warmth of these letterforms will age like fine wine.

When Dupla was designed, its DNA shown the best of the typographic heritage from the XIX century types, the oldest san serif known, also named as “Grotesk”, a soft synonym for bizarre, unnatural weird. XIX century Germans' eyes were surprised, astonished by the formal strangeness that provoked the mutilation of the well known serifed types. But the skeleton and DNA are barely perceptible, an invisible part of the nature of objects. We are interested in the epidermis, the outer, the visible, which directly speak to the eyes, and Dupla tells us with overwhelming presence, that is a formal, traditional type, covered with a childlike sweetness, with slight curves, epidermic, sweetening even ink’s traps up. Frutiger said that Latin alphabet letter’s minimum skeleton is like a lock where you should fit all the letters you see, but that skeleton allows many skins. We use a different skin for every specific use. And Dupla’s skin points to how generous, how friendly it is; the sweetness of the big and good-natured. They do not feel very comfortable in low-cost airplanes company’s seats, but in the proper location with enough room, they'll fill the atmosphere with kindness. Do not ask for narrow columns, or terse captions in squalid sizes; do not ask for ridiculous “small print” in dark contracts where «The party of the first part shall be known in this contract as the party of the first part …» That’s not for Dupla. Large headlines, generous width columns to cover, rude pullquotes half-breaking columns, loud exclamations, great sizes, with black weights. It’s in the insultingly generous, almost obscene use where Dupla is felt. And if you consider this a obscene, gargantuan, typographical feast, Dupla brings you everything to demonstrate that quantity does not mean less quality. Multi-language support, Latin plus full coverage, complete sets of small caps, fractions, old numerals, modern, tabular, bonds and all the “gourmet” paraphernalia that Patau has accustomed us, after many years of work. If you want to be obscene and pass the censorship, use Dupla. Hedonism is just a venial sin.

Acarau is a 6 fonts display typeface with high reverse contrast—since from Roman capitals and calligraphy, usually Latin alphabet letters have thiner horizontal steams and thicker verticals, these features being optical or visual—quite adequate for logos, headlines and posters. Moreover, the style of the typeface is inspired by Italics form factor: lowercase letters having less strokes to make their shapes; A has one story; E has one stroke shape, such as K, G, Y and Z; F has a descent. To give it more calligraphic feeling, there is contrast for uppercases as well, this is very perceived by the diagonal letters like A, K, M, N, V, W, X, Y and Z. J also has a descent. Q and R have natural swashes, but they have alternates in case the costumer want to go for more usual forms—including accent marked letters. Acarau is a 12 months project, the contrast for uppercases were increasing as the process was made. In the middle it is found suitable blend the letter shapes with the history of Brazilian music from the 70’s and 80’s, since the font has a tropical, warm, spicy and nostalgic feeling. Songs from bands and singers that emerged on Rio de Janeiro like Paralamas do Sucesso, Cazuza, Lulu Santos and Kid Abelha bring the beach accent and rhythm that this font has. OpenType features complement the set, which has Multi-Lingual support for a comprehensive Latin set, including Vietnamese—meaning more than 640 glyphs: Case-Sensitive forms, so symbols can properly align to uppercase letters; Ligatures, to better reading for z_y and L_I, and style for s_s, w_w_w; also for ease arrows and punctuation typing; Stylistic Set 1: two story a—including accent marked letters; Stylistic Set 2: two story g—including accent marked letters; Stylistic Set 3: diagonal (usual) z—including accent marked letters; Stylistic Set 4: flower i and j dots; Contextual alternates; Terminal forms, for R and Q; Ordinals.