Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

With Encercle Draft, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Draft is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Draft uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Draft will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not Powerpoint), Sibelius and more. Encercle Draft includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thicker, sans-serif style, check out Encercle Sans. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

With Encercle Sans, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Sans is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Sans uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Sans will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not PowerPoint), Sibelius and more. Encercle Sans includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thinner, classic architecture/drafting style, check out Encercle Draft. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

MOTORWAY is the companion typeface to TRANSPORT, the British road sign lettering. The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M. Kinneir and Calvert designed the limited range of characters in two weights; a SemiBold 'Permanent' weight for use as white letters on blue motorway signs, and a Bold 'Temporary' weight for heavier black letters on yellow non-permanent signage. In addition to creating full fonts in both original weights, the K-Type family adds a new Regular weight, plus a set of italics, completing a highly usable condensed typeface which, while rooted in history, is fully functional for both print and web usage. The K-Type fonts are spaced and kerned normally, simply increase the tracking to recapture the generous spacing of motorway signage.

AS Palmer Script & Sans This pair was inspired by the spirit of the past, when manual labor was common, and technology was just beginning to develop. It was crafted by hand specially for traditional typography lovers and anyone who want to add natural handmade feeling in brand identity. It comes with Regular and Aged versions that expands its posibilities in use. Opentype features Script font has 151 stylistic alternates and 3 variations of end-swashes with about 10 lengths of each style. Stylistic Alternates. The easiest way to get alternate character is to add number for example 2, 3 or 4 after any Uppercase. Each of them has from two up to five alternates. This combination works with activated Standard Ligatures option in Opentype panel (Photoshop / Illustrator). End-swashes. AS Palmer Script has 3 variants of end-swashes and about 10 lengths of each style. It works like Stylistic Alternates with activated Standard Ligatures in Opentype panel. Just add special combination at the end of the word, to get needed swash element and its length. Underscore, double underscore or slash is swash style. Number is length. For example: _3, __5, /6. Just try, it's easy. AS Palmer Sans - different Double letters. This feature work automatically with activated Contextual Alternates in Opentype panel. Note, that this features are not available in Miscrosof Word. Palmer is very good looking in logo, labels, t-shirt prints, product packaging, invitations, advertising and others. I've designed some examples, so you can see how it can be used. Multilingual support (Western European characters). English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, Turkish.

Eckhart™ is a modern didone, high-contrast typeface designed to create elegant, original and expressive character. This versatile font family is delivered in four optical sizes, making it a complete type system for all kinds of use, from branding to setting paragraph text. It is equipped with ligatures, swashes and alternates to enrich design possibilities and make it very distinctive as a display typeface. Eckhart family features a very playful and energetic color font, giving broad new possibilities of display use, especially interesting for posters and magazines. Eckhart Color is delivered both as OTF color font as well as regular layered font in 6 layers - it helps to achieve maximum software compatibility and control over colors. Eckhart consists of 74 fonts in 4 optical sizes - 33 uprights and their corresponding true italics + color fonts. It has extended language support as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, stylistic sets, lining, oldstyle figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols. --- Color font - user information: Eckhart Color Folk - OTF color font format has pre-defined color palette. In order to change the colors, please convert the text to outlines. You need compatible software to use the OTF color file, such as Adobe Photoshop CC, Adobe Illustrator CC, Pixelmator, etc. Eckhart Color Layered fonts - use the fonts one on top of the other in the order the fonts are numbered. These are regular OTF files, they work in all professional graphic software and you can edit the color of each layer. For web use - please use the color fonts as graphics, because not all web browsers support them.

Offense is an unyielding rectangular slab-serif 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. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Offense’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.

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/

Sevigne [sey-vee-nyey] is a highly refined, contemporary geometric stencil, inspired by the ambience of high-end fashion and luxury combined with the raw, utilitarian nature of the stencil. The inclusion of over 130 unique ligatures expand it’s sensibility of alluring, well-balanced letterforms and distinctive style. The stencil marks are atypically placed and vary throughout, giving it a purposely forward presence. Stylistically, as an all-caps typeface, Sevigne exudes a greater sense of harmony and polish due to it’s unicase form where the interplay of a limited amount of characters is the focus. Subtle, considered details are found within individual letters, contrasted by the complex, intersecting forms that make up the various ligatures. With multiple stylistic sets added to the expanded ligatures, individual letters and ligature pairs can be carefully exchanged to fine-tune text settings for a unique custom type solution. Features include: Precision kerning- Expanded set of over 130 Ligatures, including alternates (ae, oe, fi, fl, ffi, ffl, ffj, ff, fh, fj, ft, tt, th, ct, st, oo, og, go, ogo, gog, la, ea, ev, ew, fy, ez, et, oc, ga, do, uv, vu, yu, uy, nn, mm, xy, yx, ao, oa, ac, da, aq, nt, aa, ll, ss, ut, tu, ka, ca, ag, of, off, co, ne, nr, nl, nd, nk, hn, mn, me, mp, al, an, af, ar, ak, ah, ad, ab, and, gg, all, co, ço, he, the, tl, tn, tf, tr, tk, td, tb, te, am, ame, amb, tm, ap, tp, wu, uw, kt, tz, ra, za, mk, xx, yy, vv, ww, ky, fu, oq, cc, cq) Alternate characters (A, G, R, Q, _, $, ®, •, ¶) 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.

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

Teramo™ is daring, sharp and dynamic. Its personality is derived from asymmetry and movement. It is a contemporary serif family full of modern design elements playing with proportions of works of XV and XVI century masters such as Francesco Griffo or Claude Garamond. The family features four optical sizes. Display sizes feature extreme stroke contrast and are intended for fashion, lifestyle, cosmetics, magazine, business, hi-tech and advertising use. Text styles are created for all kinds of body copy — long and short paragraphs, books and websites in any modern design context. They are crafted to be elegant and legible, featuring more generous spacing and scrupulous kerning. Display weights are designed as modern, extraordinary variations on didone style. Teramo’s letterforms are merging classical proportions and precise, contemporary details such as asymmetric serifs, sharp edges and unconventional glyph shapes. Another important factor constituating Teramo’s personality is an angled axis, unusual for didone families and giving the typeface much more organic and dynamic feel. Teramo features a lively true italics strongly related to cursive handwriting. The italic styles imply movement, energy and fluency, introducing a new color to paragraph text, as well as being a powerful and interesting standalone display type. The family introduces additional titling letter variations for headlines and display uses, such as sharp and modern lowercase “y” or uppercase alternates for better all caps typography. Teramo consists of 56 fonts in 4 optical sizes - 28 uprights and their corresponding true italics + 2 variable fonts. It has extended language support as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, titling alternates, contextual alternates, lining, oldstyle figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

About Ardena: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable Font contains 2 axes: weight and oblique – all in just one file. Features: With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the static version of the Ardena family here: https://www.myfonts.com/fonts/julien-fincker/ardena/

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.

Sevigne [sey-vee-nyey] is a highly refined, contemporary geometric sans, inspired by the ambience of high-end fashion and luxury. The inclusion of over 130 unique ligatures expand its sensibility of alluring, well-balanced letterforms and distinctive style. Stylistically, as an all-caps typeface, Sevigne exudes a greater sense of harmony and polish due to its unicase form where the interplay of a limited amount of characters is the focus. Subtle, considered details are found within individual letters, contrasted by the complex, intersecting forms that make up the various ligatures. With multiple stylistic sets added to the expanded ligatures, individual letters and ligature pairs can be carefully exchanged to fine-tune text settings for a unique custom type solution. Features include: Precision kerning- Expanded set of over 130 Ligatures, including alternates (ae, oe, fi, fl, ffi, ffl, ffj, ff, fh, fj, ft, tt, th, ct, st, oo, og, go, ogo, gog, la, ea, ev, ew, fy, ez, et, oc, ga, do, uv, vu, yu, uy, nn, mm, xy, yx, ao, oa, ac, da, aq, nt, aa, ll, ss, ut, tu, ka, ca, ag, of, off, co, ne, nr, nl, nd, nk, hn, mn, me, mp, al, an, af, ar, ak, ah, ad, ab, and, gg, all, co, ço, he, the, tl, tn, tf, tr, tk, td, tb, te, am, ame, amb, tm, ap, tp, wu, uw, kt, tz, ra, za, mk, xx, yy, vv, ww, ky, fu, oq, cc, cq) Alternate characters (A, G, R, Q, Z, _, $, ®, •, ¶) 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.

A smooth contemplative Antiqua with aspiring to the sky ascenders, inspired by the Quietism philosophy. Clarity of the mind is achieved by bringing the body into a state of calm and contemplation, and this is reflected in the design – the quiet horizontal serifs (body) are opposed to the peaky soaring ascenders (mind). The design also features four optical size subfamilies with different x-height and contrast, oldstyle diagonal stress, oldstyle figures by default, smooth details and slightly dark texture. Variable axes: Weight, Contrast, X-Height. Scripts: Latin, Greek, Cyrillic. Languages: 480+. The complete list of supported languages: michaelrafailyk.com/quietism Kerning: 4553 class-to-class pairs. Hinting: Not applied. Format: TTF – OpenType with TrueType outlines. Variable Font: Quietism Variable provides more options than static versions, and has three axes: Weight (Thin–Black), Contrast (Low-High), and X-Height (Low-High). Variable fonts includes thousands of styles that you can access using a sliders on graphic editor or via CSS on web browser. Mixing different axes gives you extra styles not represented by static fonts. Optical Size: The typeface is represented by four subfamilies: Text (low contrast, high x-height – for paragraph 10-20 pt), Deck (medium contrast, medium x-height – for subheading 20+ pt), Display (high contrast, medium x-height – for heading 72+ pt), Poster (high contrast, low x-height – for big size 120+ pt). Small Caps: Lowercase letters and Oldstyle Figures are replaced with Small Capitals forms. Capitals to Small Caps: Uppercase letters, all figures, and some punctuation are replaced with Small Capitals forms. Case Sensitive Forms: ()[]{}‹›«»-–—•·#%‰@ and Arrows are centered on capitals. Oldstyle figures are replaced with Lining figures. Oldstyle Figures: 0123456789 #%‰. Designed to work with lowercase letters. Used by default. Lining Figures: 0123456789 #%‰. Figures are the same height as uppercase letters (cap height). Proportional Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Tabular Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures. Contextual Alternates: Number sign character (#) before uppercase letters is replaced by its version centered on capitals. Hyphen character (-) between two uppercase letters is replaced by its version centered on capitals. First of two TT letters is replaced by its alternate form. Letters vwy before the letters fijmnprtuvwxy are replaced with an alternate shorter versions that fits better in the context. Contextual Alternates (Greek): ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps and Small Caps modes. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: FTГТИЦЩцщ and their versions with diacritical marks. Stylistic Set 01 “Arrows”: Left <- Right -> Up Left Right <-> Up Down North West South East \> South West Stylistic Set 02 “Round-Square Cyrillic”: ДИЙЍЛФвгджзийѝклнптцчшщьъю characters are replaced with its Bulgarian or Russian forms. Stylistic Set 03 “Cyrillic Tse Shcha short tails”: ЦЩцщ characters are replaced with its alternate form with short tail. Stylistic Set 04 “Cyrillic I full serifs”: ИЙЍӢ characters are replaced with its alternate form with inner serifs. Stylistic Set 05 “FT bent inward serif”: FTГ characters and their versions with diacritical marks are replaced with its alternate form with right head serif that bent inside. Stylistic Set 06 “Small Caps centered on Capitals”: Small Caps are vertically centered on uppercase letters. Standard Ligatures: fi fl fb ff fh fj fk ffb ffh ffi ffj ffk ffl. Discretionary Ligatures: Th ct st. Localized Forms: 52 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Macedonian, Moldavian, Polish, Romanian, Serbian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (571 characters). Precomposed.

The typeface Hand Print Stamp Rough is designed in 2018 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough hand-printed typeface based on old wood letters, rubber-stamps and plastic stamps. 7 font styles (Reg + Mix, Circle, Diamond, Square Star + Icons) each with 1350+ glyphs incl. 200+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for ♥ or SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (9+ stylistic sets). For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Character Set: Latin Extended (Adobe Latin 3). 1350+ glyphs with 200+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. (9× A–Z, 9× a–z, 9× 0–9) For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Have fun with this font & try-before-buy the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand Print Stamp Rough ■ Font Weights: Regular + Mix, Circle, Diamond, Square, Star + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Sans Serif + Slab Serif Dis­play for Head­line Size ■ Font-For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1350 glyphs ■ Lan­guage Sup­port: 27+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 200+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 16 (ss16), Loca­li­zed Forms (locl), Super­script (sups), Ordi­nals (ordn), Slashed Zero (zero), Frac­tions (frac), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2018 ■ Type Desi­gner: Manuel Vier­gutz

Crox™ is a sans-serif professional typeface inspired by crude geometry, creativity, and art. In the font family, there are 19 styles, including upright and italic, It is constructed of big lowercase letters with a maximum x-height for excellent optical reading. English letters are supported as a numerator and denominator set, this feature may aid in the creation of fractions using letters and numbers, as well as for sophisticated scripting and various scientific fractions forms. All weights support over 25 professional OpenType features within each style, with extensive coverage of western languages. These features were originally planned for personal and professional use, including multi-alternative characters in Styles: 1, 2, 4, 10, 11. Operational styles 6, 7 are enhanced with some scientific forms, to write the fit derived (SI units' expressions). Otherwise, it supports a wide range of professional factory pricing styles for business and marketing, as well as retail pricing styles in Sets 5, 8, and 9, with ligatures, old-style numerals, ordinals, swashes... Crox™ is enhanced with a poster weight like the fantastical type to fulfill your creative needs in three styles: poster, poster oblique, and poster italic for ADS and web design, branding, or product design. Glyphs: More than 970 glyphs, including those accessible with OpenType features. Powerful OpenType features: Standard Ligature, Alternate access, Automatic ordinals (English, French...), Case sensitive, localized forms, Numerator set, Denominator set, Subscript, Superscript, Swash, Stylistic alternate, Styles 1,2,3,4,5(Pricing style 1), 6(Derived Units),7(Advanced Fractions for Scientific units, Derived Units Vulgar Form), Set 8 (Pricing Style 2), Set (Pricing Style 3), Proportional Old-style, Tabular Old-style, Proportional Lining, Tabular Lining, Zero with slash, Fractions (Default, Automatic). Suitable for: logo and modern branding, web design, packaging, Product packaging, Articles, scientific document, Product user guides, multiple works in the Media, Design, ADS... Specimen Crox™ is a trademark of Yassine Abdi.

Unleash the Power of Motion and Speed with the ApexPro font – a dynamic, sporty font designed for those who crave action, speed, and innovation. This typeface is meticulously crafted to embody the essence of the automotive world, fitness, and cutting-edge technology. Key Features: Style: The ApexPro boasts a rounded and soft appearance with bold, italic, and slashed elements, giving it a sporty and energetic vibe. The letters are carefully crafted, providing a clean and sharp visual for maximum impact. Design Elements: Inspired by the sleek lines of high-speed vehicles, the font carries a rounded, beveled, and cutout aesthetic, adding a touch of modernity and innovation. The use of military and stencil elements infuses a sense of power and dynamism. Versatility: The ApexPro is not just a font; it's a statement. Perfect for automotive enthusiasts, gym-goers, and tech aficionados, it seamlessly blends into various contexts such as sports events, gaming interfaces, and futuristic designs. Target Audience: The ApexPro is tailored for individuals who appreciate the fusion of technology, speed, and style. The target audience includes: Age: 18-35, seeking dynamic and trendy design elements. Gender: Unisex, appealing to both males and females. Needs: Graphic designers, gamers, fitness brands, and automotive enthusiasts looking for a font that embodies speed and action. Why the ApexPro font? For Speed Enthusiasts: The ApexPro brings the thrill of high-speed action to your designs. For Fitness Brands: Reflect the energy and dynamism of your fitness brand with the ApexPro. For Gaming Interfaces: Elevate your gaming experience with a font that resonates with movement and power. File Inclusions: Languages Covered: Multilingual support for a global audience. Numbers, Symbols, and Punctuation: A comprehensive set for versatile use. Lowercase Letters: Lowercase letters for a balanced and cohesive look. Fuel your creativity with the ApexPro – the font that doesn't just communicate, but accelerates your message. Download now for an experience that goes beyond the ordinary.

Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom. The Tiresias font is designed to have characters that are easy to distinguish from each other, especially important for the visually impaired. The following key factors were considered during the design process: character shapes, relative weight of character stokes, intercharacter spacing, and aspect ratios that affect the maximum size at which the type could be used. The benefits of the Tiresias font are greatest on lower resolution displays, such as televisions, train and airline information terminals, and low resolution displays on wireless communication and handheld devices. InfoFont is for printed instructions on public terminals where legibility is the primary consideration; these instructions are often read at a distance of 30 to 70 cm. Infofont is not designed for large quantities of text. The Tiresias LPfont is a large print typeface specifically designed for people with low vision. Large print publications should be designed to specifically help with reading problems, and should not just be an enlarged version of the ordinary print. The Tiresias LPfont family, made up of roman, italic, and bold weights, was designed to address and solve these issues. The RNIB developed PCfont for people with low vision to use on computer screens. It is designed for use at larger sizes only. PCfont includes delta hinting technology in the font to ensure pixel-perfect display at key sizes. Signfont is for fixed (not internally illuminated) signage. The recommended usage is white or yellow characters on a matt dark background. Note that the “Z” versions have slashed zeroes, and are identical in all other respects. These faces were developed together with Dr. John Gill of the National Institute of the Blind, Dr. Janet Silver; optometrist of Moorfields Eye Hospital, Chris Sharville of Laker Sharville Design Associates, and Peter O'Donnell; type consultant. Tiresias himself is a figure from Greek mythology, a blind prophet from Thebes.

A sans serif with a dynamic look for complex typographic work. Rival Sans is a sans serif font family possessing many strengths. Its 32 fonts and 2 styles, make Rival Sans a very versatile family and suitable for many graphic design projects such as branding, signage, editorial creation, advertising, packaging, broadcasting or logo creation. With the endings cut at 10 degrees and sharp cuts on the top of the stems of certain characters (like the l, b or the d) Rival Sans gives dynamism and readability to the lengthiest of editorial content. This beveled font design also gives rhythm to a text's sentences as well as a very functional look. All these design details give this new font family a modern, energetic and humanistic look. Rival Sans also has many powerful OpenType features such as case sensitivite forms, small capitals, old style and tabular figures, slashed zero, ligatures, fractions,and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called "Pro Kerning". With more than 2500 pairs of glyphs and many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to these extended features, the italic styles of this fonts family have been drawn as fully-fledged styles with different designs from their regular version so that the italic texts look like calligraphic phrases. Rival Sans has an extended character set with over 930 glyphs. This family covers over 130 languages from Western Europe, Eastern Europe and Central Europe. In addition to all the features of its kind, Rival Sans is part of a very complete "type system" with style variants such as the serif version Rival Serif or the slab version Rival Slab. With all these typefaces, you have 62 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations.

Patrick Griffin's sister is a really annoying individual sometimes. Not only is she into theater, but she thinks everyone else in the universe is into it as well. So once in a while tickets to local or provincial Shakespearean plays get delivered to the mailbox or dropped off on the living room's table. And once in a while the tickets just cannot be "lost" or ignored. Three or four times a year, Patrick must be subjected to Olde Englishe Speake, umbrella dresses and squeezetops, featherhats and men in leggings, rhyme and treason, mortality and immorality, drama inflicted by some mama, and it never ends. Last June it was Hamlet. Again. Someone's (wink wink) idea of a good time. There he goes, the Prince of Denmark, holding that skull with the tips of his fingers like it's an alien egg. Alas, poor Yorick! Yadda yadda boop-bop-a-loo-bop. And so the idea of a font made of skulls was born. And what can we possibly be but conduits for such abhorring ideas? Where be our gibes, our songs, our flashes of merriment? Skullbats has more skulls than you'll ever see in your lifetime. At least we hope so. Scary skulls, funny skulls, evil skulls, strange skulls, pixel skulls, fiery skulls, surprised skulls, happy skulls, sad skulls, cow skulls, sketched skulls, profiled skulls, light bulb skulls, cartoon skulls, techno skulls, alien skulls, expressionist skulls, pirate skulls, horned skulls, and skulls with whacky headgear. You name it, it's there. There's even a disco skull there for you. We lost count at 90 skulls, but there's a few more in there. For a complete showing of the skulls in the font, consult the image in the MyFonts gallery. Patrick's sister didn't turn out to be so bad after all. After making this font, he couldn't help but notice that her skull was a bit small compared to his. So now he takes every opportunity to remind her that the size of the cranium is relative to what it houses. Her upcoming halloween present will be a shirt with guess-what on it. Shirts, now there's putting Skullbats to good use!

Introducing “Backover Typeface” – Unleash the Power of Words with a Heroic Twist! 🔥 Immerse yourself in the epic realm of typography with our latest creation, the “Backover Typeface.” Inspired by the valor of superheroes and the chivalry of knights, this font is a visual journey into the heart of heroic tales. 🗡️ Strike with Power: Channel the strength of legendary warriors as each letter in “Backover Typeface” is meticulously crafted to embody the essence of a hero’s decisive strike. The sharp angles and bold lines evoke the precision of a superhero’s punch or a knight’s swordplay. 🛡️ Defend with Style: The font doesn’t just pack a punch; it defends with flair! Each curve and contour replicate the resilience of a shield, offering a typographic fortress that stands strong against the ordinary. Let your words be the armor that shields your message with distinction. 👤 Unleash Your Inner Hero: “Backover Typeface” isn’t just a font; it’s a transformation. Feel the power surge as you type words that resonate with the bravery of classic heroes. This font empowers your message to become a beacon of courage, ready to take on any adventure. ⚔️ Warrior’s Arsenal: Immerse your audience in the visual feast of classic warrior illustrations included with “Backover Typeface.” Swords clash, shields protect, and helmets gleam with the promise of valor. These meticulously designed elements seamlessly integrate into your typography, allowing you to create a visual narrative that echoes the grandeur of heroism. 🎮** Level Up Your Designs:** Whether you’re working on a superhero movie poster, a knight-themed game interface, or any project that demands a touch of legendary charm, “Backover Typeface” is your ultimate companion. Elevate your designs, captivate your audience, and let the font be the hero of your creative journey. 🌟 Key Features: Heroic Typography Superhero and Knight Theme Sword, Shield, and Helmet Illustrations Perfect for Movie Posters, Game Graphics, and more 🚀 Elevate your design game with “Backover Typeface” – where every word becomes a heroic adventure! Download now and embark on a typographic journey like never before. Unleash the hero within your words! ⚡️

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.

Overview of BD Megatoya Consists of 41 fonts, including nine upright, nine italics, nine extended, nine extended italics, all in nine weights from thin to black. 4 outline version in black weight. 1 variable with three axes (weight, width, slant). 1,470 glyphs in each font. Opentype features include small caps, stylistic alternates, ligatures, complete numeral figures, ordinal, case-sensitive forms. language support: Western European, Central European, and Southeastern European. About BD Megatoya Taking a geometric sans serif approach, we designed the letterform with details on round characters to pursue harmony and leave a slightly boxy feel to the extended style. The stylistic alternate is one of our concentrations to make them versatile yet still preserve consistency in stem and metrics to provide good readability in small text. Overall, the various treatments for each character will encourage each other to dynamic colours, flexible, and functional impressions in their application. Slicing edges The edge of the letter slice in 45 degrees will give the impression of a sparkle of light when you look at them for the first 2 seconds (our experience). This is what we did a few years ago when working on automotive branding. The word-mark logotype with slicing form gives an exclusive and different impression from its crowds. If you agree with us, does BD Megatoya deserve to be called a problem solver in branding projects? Jump over to .ss07, .ss08, .ss09, and .ss10 to find them! The Features BD Megatoya font family includes 41 great fonts in nine weights, an extended character set of over 1400 glyphs, multilingual support such as Southeastern Europe, Central Europe, Western Europe. Also advanced & useful open-type features: case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Use BD Megatoya BD Megatoya is very suitable for branding projects and many designs purpose like advertising, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. It's a FREE Get one weight from the BD Megayoya family for Free! Apply to your amazing projects and enlarge your creative tools by adding the complete BD Megatoya family to your font library.

This is an Experimental typeface, a direct descendant of the BD Gitalona font family, which has a supermassive family with Variable technology. However, this version is more on the aesthetic aspect, which is experimental and exploratory. It complements the beauty of the primary typeface that we released separately. If you are a fan of Effectiveness and flexibility, please learn more about BD Gitalona and BD Gitalona Variable! Inspiration The world of entertainment moves non-stop. One by one, figures appeared and left. We expect to create something to entertain previous trends with packaging more relevant to the present. More specifically, we admire and are inspired by some of the world's leading and top singers with a segmented nature. We imagine so many figures that can affect every viewer. However, each artist or singer has a segment because almost all of them have characteristics. The Design The basic design of this typeface begins with a transitional serif shape with sharp, shapeless corners. Then in the middle of the invention, there was an opportunity to explore it further from the readability side by adding an optical variable that can adjust the serif thickness when used together between large, medium to paragraph text sizes for editorials. The shift from serif to sans-serif with the contrast initiated by the shift of the serif family form as a different variable also makes this font richer in terms of the features it contains. Parts are expected to add to the user satisfaction with the complexity of this font. The Features BD Gitalona consists of one sub-family intended for body text with nine weights from Thin(100) to Black(900) and four other display sub-families such as Display serif, Flick, Harmony Sans and Contrast Sans. Each consists of four weights Thin(100), Regular Weight(400), Bold(700), and Black(900). And again, there are also retailed separately; the BD Gitalona Variable font, which is designed to accommodate all Subfamily in 1 font file, and BD Gitalona Moxa, an experimental typeface. A total of 700+ glyphs in each style. Advanced OpenType features functionally and aesthetically, such as Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Supports multi-languages ​​including Western Europe, Central Europe, Southeast Europe, South America, and Oceania.

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

TT Travels useful links: Specimen | Graphic presentation | Customization options About TT Travels: TT Travels is a geometric grotesque with wide proportions and peculiar shapes of circles and brackets. TT Travels incorporates two stylistic sets which add completely different characters to the type family. The first set ss01 (aka salt) makes the font more humanistic, thanks to the ductal and smooth design of the characters defining the style. And if you want to work with the futuristic version of TT Travels, we recommend that you enable the second set (ss02). In this set, most of the characters defining the style change to characters possessing experimental forms of graphemes. For the convenience of the TT Travels font family use and for working within a complex text hierarchy, we've created 9 weights (Thin, X-Light, Light, Regular, Medium, DemiBold, Bold, X-Bold, Black) and added 9 true Italics. TT Travels also implements standard and discretionary ligatures, oldstyle figures, slashed zero, and much more. The full list of OpenType features used in TT Travels is: ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01, ss02, case, frac, zero. TT Travels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

TT Nooks useful links: Specimen | Graphic presentation | Customization options TT Nooks is an experimental font family that includes a high contrast serif, TT Nooks, and an upright italic, TT Nooks Script. Despite the difference in style, both subfamilies get along well, which is partially thanks to their similar proportions. Each of the subfamilies includes 4 weights: Light, Regular, Bold and Black. The main subfamily is TT Nooks—a stylish high-contrast serif with a light touch of self-centeredness. If TT Nooks were a person, it would be an elegant lady with an independent and firm personality. In the original sketches of TT Nooks there were traces of a broad pen, but in the course of further evolution the typeface moved away from this style, retaining only the high contrast of strokes. In addition, in the process of design searches TT Nooks has obtained a touch of geometricity. The serifs in TT Nooks stand out especially visibly thanks to their geometric shape that resembles slippers. In addition to their peculiarity, such serifs add stability to the font and allow better compensation of the black and white ratio within the letters. TT Nooks has small capitals for Latin and Cyrillic alphabets, as well as a set of stylistic alternates (including some figures) that makes the typeface a bit more geometric. In addition, we have drawn more than 25 ligatures, including ligatures for capital letters, slashed zero and many other useful OpenType features. TT Nooks Script is a complementary family designed to harmoniously extend the main family and expand its scope. The forms of the characters in bold and light fonts of TT Nooks Script are quite different. For example, Black & Bold have high contrast strokes and an open aperture, and in Regular & Light the aperture of the characters is closed. TT Nooks also has small capitals for Latin and Cyrillic alphabets, ligatures, oldstyle figures and other OpenType features. In light faces, TT Nooks Script is more humanist and has artifacts inherent to the continuous movement of a flat pen. In bold faces, TT Nooks Script has a very dense and dynamic typing rhythm, and the shape of the letters begins to geometrize. We had had the difficult task of preserving the continuity of forms between bold and light faces, and we have managed to solve it thanks to the found rhythm, which united different fonts, and proximate stylistic solutions.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

Milan-based Leftloft studio developed LFT Iro Sans, an expansive family that solves the significant, wide-ranging challenges of branding, wayfinding, pictographic language, and complex editorial use. LFT Iro Sans began as the clear and welcoming wayfinding project of San Siro stadium in Milan. Over time many other styles and weights have been added. LFT Iro Sans never finds itself outmatched by the task at hand. The primary aim was to design a technical typeface that was readable in any low visibility condition, for instance in a poorly lit area with awkward wall shapes and overhangs. This worked well for stadium and large lettering use, but other problems also needed to be addressed, such as complementary iconography. A location developer was left mixing — clashing, really — one type family with a different family of icons, resulting in a cobbled-together look which diluted the brand and the experience. They set out to radically simplify and clarify each shape and its meaning, accepting uniqueness as part of the final visual language. LFT Iro Sans pictograms answers the need for having a consistent and large group of icons, perfectly suited to the text typeface. As it concerns public spaces, this didn’t exist before. LFT Iro Sans incorporated a branding project too, so they decided to let LFT Iro Sans go out on a limb and created a unicase style that demands attention. Each unicase letter is a combination of the lowercase and capital form, quite noticeable in the ‘i’, ‘m’, ‘t’, and unique ‘d’ and ‘b’, balanced by more restrained forms of ‘a’, ‘s’, ‘c’, and ‘e’. LFT Iro Sans is not only a technical typeface, but, thanks to letters’ proportions, can also be used for editorial purposes. Assertive and economical in stature, the text weights are clear and assured. And a display version for headlines in Ultralight and Heavy (with italics) was developed for stunning headlines. For enthusiasts of every stripe, LFT Iro Sans can be a brand’s rallying cry with its arresting unicase, be a developer’s go-to pictogram choice, or set the most demanding editorial text in digital or print. With its many OpenType features, simplified pictogram commands (even available in Apple’s Pages and Microsoft Word), and a total of 30 targeted family members, LFT Iro Sans is a brilliant, easy choice. As with the rest of the TypeTogether catalogue, the complete LFT Iro Sans family, designed by Lefloft and developed by Octavio Pardo, has been optimised for today’s varied screen uses.

Inspired by various shapes such as leaves, flowers, hearts etc., Apresia Script is harmonically crafted. My first intention is only for standard design, but, later added simpler characters for normal(standard) typings. Apresia Script is rich with capital letter variants and ornaments. There are also lowercase variants in lesser numbers. I assume that many or perhaps most people want to have their name or the other of their important designs to be written with some letters that are in various shapes harmoniously. Apresia Script with more then 4000 glyphs support this aim, also support many latin based languages. However, because of many variations, except the standard characters, the full marked capitals are only set in two variants; in ss01 and ss02, which is also some marked lowercases included here. Swash variants (swsh) consist only one variant of every uppercase and lowercase characters, but no marked characters. All the others capital and lowercase variants are put in stlystic alternatives (salt). There are tens of unmarked caps and fewer for unmarked lowercase in salt (see Apresia Script opentype features(1) poster for some). The ornaments can be accessed via opentype ornaments(ornm), using less() characters for easier access. There are also beginning small letter(lowercase) ornaments, end word(lowercase) ornaments and insertion ornaments to make your typing/design more flourish, using ornm via “[“ (bracketleft), “]” (bracketright) and “\” (backslash), respectively. For marks; marks via combining marks and mkmk was set for many characters variants, however, it seem most applications not yet support this features. Alternatively, you can add non standard unicode combining marks via ornaments for the language supported: asterisk “*” list for uppercase marks above letters; ASCIIcircum “^” list for lowercase marks above letters; underscore “_” for uppercase and lowercase marks below the letters; numbersign “#” for slashing characters, horn, caron alternate and reversed comma for g, (see Apresia Script opentype features(2) poster and save it if you download the font). Thus, it is recommended to have the application which are support these opentype features such as: Adobe in Design, Adobe Illustrator, CorelDRAW or others for easier accessing the glyphs. Still, for non supported applications, you can insert these glyphs via Character maps, insert symbols or other similar tools. Apresia Script will go for most typing/design such as invitation, wedding card, greeting card, banners, logos and many others. Use it for whatever you intended to, Apresia script will give an amazing end design, though you are not a designer. As intended to be able to be used by many, this font is set in an affordable price. Thank you very much for downloading this font.

We introduce our Variable Font from the high-complex BD Gitalona font family. Consisting of 3 axes; weight, optical size, and serif, that will give you a different experience extending the family of BD Gitalona. We don't want to mention how many families can be generated from this variable font. During the development process, we got up to more than 50 families and stopped to allow you to continue to play with the slide buttons. And again, BD Gitalona is filled with an explorative and experimental decorative version that we present separately. Figure out the decorative version BD Gitalona Moxa to make the aesthetic appeal of this whole typeface here! Inspiration The world of entertainment moves non-stop. One by one, figures appeared and left. We expect to create something to entertain previous trends with packaging more relevant to the present. More specifically, we admire and are inspired by some of the world's leading and top singers with a segmented nature. We imagine so many figures that can affect every viewer. However, each artist or singer has a segment because almost all of them have characteristics. The Design The basic design of this typeface begins with a transitional serif shape with sharp, shapeless corners. Then in the middle of the invention, there was an opportunity to explore it further from the readability side by adding an optical variable that can adjust the serif thickness when used together between large, medium to paragraph text sizes for editorials. The shift from serif to sans-serif with the contrast initiated by the shift of the serif family form as a different variable also makes this font richer in terms of the features it contains. Parts are expected to add to the user satisfaction with the complexity of this font. The Features BD Gitalona consists of one sub-family intended for body text with nine weights from Thin(100) to Black(900) and four other display sub-families such as Display serif, Flick, Harmony Sans and Contrast Sans. Each consists of four weights Thin(100), Regular Weight(400), Bold(700), and Black(900). And again, there are also retailed separately; the BD Gitalona Variable font, which is designed to accommodate all Subfamily in 1 font file, and BD Gitalona Moxa, an experimental typeface. A total of 700+ glyphs in each style. Advanced OpenType features functionally and aesthetically, such as Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Supports multi-languages ​​including Western Europe, Central Europe, Southeast Europe, South America, and Oceania.

Greetings: We are introducing an advanced version of the Kage font released and received great exposure from users and worldwide font enthusiasts. The massive development puts forward experimentation on the alternate letters. We redesign each shape to make it more functional and comfortable when text size escalation occurs. In addition to rejuvenating the letterform, we also apply an oblique style to provide diverse style choices. Learn more about Kage Pro here: Graphics presentation | Type Specimen | The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage Pro is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage Pro is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage Pro has 11 upright and 11 oblique styles from thin to black; all family-style consist of one variable font with 2 axes. The total number of glyphs is 1,665 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

We introduce our high-complex typeface. A wide range of serifs for text and display titles are divided into one prominent sub-family and four display sub-families. Comes shifted from serif to sans serif to fulfilling the completeness of this font family that we named BD Gitalona. In addition to these massive things, this font family is filled with an explorative and experimental decorative version that we present separately. Figure out the decorative version BD Gitalona Moxa to make the aesthetic appeal of this whole typeface! Inspiration The world of entertainment moves non-stop. One by one, figures appeared and left. We expect to create something to entertain previous trends with packaging more relevant to the present. More specifically, we admire and are inspired by some of the world's leading and top singers with a segmented nature. We imagine so many figures that can affect every viewer. However, each artist or singer has a segment because almost all of them have characteristics. The Design The basic design of this typeface begins with a transitional serif shape with sharp, shapeless corners. Then in the middle of the invention, there was an opportunity to explore it further from the readability side by adding an optical variable that can adjust the serif thickness when used together between large, medium to paragraph text sizes for editorials. The shift from serif to sans-serif with the contrast initiated by the shift of the serif family form as a different variable also makes this font richer in terms of the features it contains. Parts are expected to add to the user satisfaction with the complexity of this font. The Features BD Gitalona consists of one sub-family intended for body text with nine weights from Thin(100) to Black(900) and four other display sub-families such as Display serif, Flick, Harmony Sans and Contrast Sans. Each consists of four weights Thin(100), Regular Weight(400), Bold(700), and Black(900). And again, there are also retailed separately; the BD Gitalona Variable font, which is designed to accommodate all Subfamily in 1 font file, and BD Gitalona Moxa, an experimental typeface. A total of 700+ glyphs in each style. Advanced OpenType features functionally and aesthetically, such as Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Supports multi-languages ​​including Western Europe, Central Europe, Southeast Europe, South America, and Oceania.