The typeface is inspired by our love of old hand-painted signs in butchers, and based on some very quick sketches using a brush pen to find what shapes worked. There is quite a quirky element to the type, as we tried to create the original sketches by rotating the brush pen to reflect the strokes of a paint brush. This lead to a horizontal stressing, which is most noticeable in letters like C, G, S and J. Sidestroke comes in 2 styles, both a standard solid version, and a pre-shadowed outline version. This can be outlined and divided in Illustrator to quickly create an alternate coloured fill for your letters. The lowercase letters have been designed to automatically horizontally align with any uppercase letters, which is a great shortcut when creating logos or other unique type layouts.

The Lustra Text family is the next evolution of our Lustra Family, which finds its origin of inspiration in the HYUNDAI automotive company logo, and from there expands to an 8 font family of weights. Lustra Text still nods its head to the techno display styling of the inspiration logotype, but evolves its brand inspired origin from a display to a text font family that pulls on modern and historical styles like Eurostyle and Bank Gothic. This text family inherits a sturdy yet approachable geometric style with its uniform stroke forms and curves, and includes a lowercase with a Stylistic Alternate for the lowercase "a", a numerals set, and a comprehensive range of weights. This is a straightforward, powerful, and uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

Last year, we visited Brazil and we were totally captivated by its cheerful and warm people. Its wild nature is absolutely amazing and very noticeable in textile printing as well as in floral design. That was precisely what inspired us to create some ornaments and dingbats, which we then turned into a single typographic work. The resulting typeface was called Garden , a serif display handmade font with a playful and spontaneous feel. The Garden family offers a font with a set of original “catchwords” (‘Garden Catchwords’, based on brush calligraphy), floral dingbats and botanical ornaments. Please be aware, “Garden Catchwords” is a ‘Catchwords’ font, and does not offer standard AlphaNumeric characters. The OpenType version provides a wide range of creative options. Garden is well-suited for text composition, posters, headlines, label design and handmade-style items. Garden is inspiration, nature and joy!

The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one example of the poet’s personal hands but also as a typical example of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s . It is a “Pro” font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.

Gothiks Round Compressed is the rounded version of Gothiks Compressed. It is a 6-weight display sans-serif influenced by Texturas. The rhythm and verticality of Texturas can be easily identified on the letters with diagonal strokes like A N M K k V v W w X x Y y Z z: here they are all vertical. This kind of morphology was chosen because it accepts condensation in a very natural way, giving to this sans-serif a very unique personality. It has an extensive character set—with extensive language support—and many OpenType features like fractions, small capitals and different figure sets. Default figures align with lowercase. The typeface’s name refers to the plural of the word Gothic, which in turn can refer to both sans-serifs or Blackletter, depending on geographic location. Use it BIG!

Alius is something else. Experimental shapes combined with traditional ones result in an extremely legible typeface that—because of its economically spaced characters—works extraordinarily well for copy texts as well as big striking headings. Alius has been created with great attention to detail which is particularly noticeable in smaller sizes where proportions and shapes remain intact. The Typeface includes stylistic alternates that provide the designer with endless possibilities for combinations and variations. Alius contains PS-Hinting and is therefore as legible on screen as it is on paper. The typeface comes with powerful OpenType features that will satisfy even the most demanding of designers. With more than 680 Glyphs and a coverage of over 130 languages, Alius is as versatile as it is beautiful. The development of the typeface started in the summer and concluded in the fall of 2021.

Gothiks Round Condensed is the rounded version of Gothiks Condensed. It is a 6-weight display sanserif influenced by Texturas. The rhythm and verticality of Texturas can be easily identified on the letters with diagonal strokes like A N M K k V v W w X x Y y Z z: here they are all vertical. This kind of morphology was chosen because it accepts condensation in a very natural way, giving to this sans-serif a very unique personality. It has an extensive character set—with extensive language support—and many OpenType features like fractions, small capitals and different figure sets. Default figures align with lowercase. The typeface’s name refers to the plural of the word Gothic, which in turn can refer to both san-serifs or Blackletter, depending on geographic location. Use it BIG!

Radiate Sans is a Humanist - Geometric Sans Serif fonts, Simple geometric letters shapes, medium contrast character style, It was designed lately 2018. and published on April 2020. Radiate Sans is a neutral typeface, have stroke modulation (strokes that clearly vary in width along their line) or alternating thick and thin strokes. Radiate Sans intended as a display typeface that could be used for posters and advertisements, as well as for the text of documents that need to be clearly legible at small sizes or from a distance, such as book blurbs, timetables and price lists. The family include 5 font weights, with a bonus 4 Widths in the OpenType version. It supports ISO Adobe 2, Adobe CE, Latin Extended characters, Standard Greek, and Standard Cyrillic. OpenType features include small caps, old style figures, superscript and subscript, ordinals, proportional lining figures, and case forms.

A feminine, graceful script whose thicker horizontals create a wave-like rhythm — hence the name. Seashore is loosely based on an "eccentric" (left-leaning) penmanship style of the late 19th century. Used mainly by professional "engrossers" in certificates and tributes, or by society ladies in their stationery and invitations, it sent a message of true refinement, as the style would have been only been mastered after the more common business, Spencerian, and standard ornamental styles. In fact, unusual script styles were in such demand that type foundries of the era exploded with metal-type knockoffs of increasing fanciness. Seashore includes a wide variety of swash capitals, alternate endings, and contextual ligatures, over 900 glyphs in all. Seashore is best used in short display settings — in names and addresses on formal invitations, in menus and food packaging, or fashion and beauty contexts.

Heimat Sans is the grotesque typeface family within the Heimat Collection, also containing Heimat Didone, Heimat Display, Heimat Mono and Heimat Stencil. Heimat Sans is a legible typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Sans character set provides two alphabets, the regular one plus an alternate design that comes across as less suspenseful. Heimat Sans [732 glyphs] comes in six weights and contains an extra set of alternate glyphs, many ligatures, lining [proportionally spaced and monospaced], hanging [proportionally spaced and monospaced], positive and negative circled for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

Heimat Stencil is the monospaced typeface family within the Heimat Collection, also containing Heimat Didone, Heimat Display, Heimat Sans and Heimat Mono. Heimat Stencil is a legible typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Stencil’s character set provides two alphabets, the regular one plus an alternate design that comes across as less suspenseful. Heimat Stencil [684 glyphs] comes in six weights and contains an extra set of alternate glyphs, many ligatures, lining [proportionally spaced and monospaced], hanging [proportionally spaced and monospaced], positive and negative circled for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

Lately I have been experimenting with different foods. At home, we eat a lot of Asian food, but I thought it would be nice to broaden my culinary horizon a bit. So far I have (successfully) added Georgian beef and walnut soup, Tacos (after a suggestion by my friend Stuart), Surinam Roti and various vegetarian dishes to our menu. When I created this font, I had to think of Gumbo - a dish I have never made. Gumbo is a handmade display font that comes in a rotund regular and an obese bold (with Italics). Use it for your book covers, product packaging and sticky notes. Gumbo comes with cute ‘end of word’ ligatures - just type the glyph + space and presto: you have a little swash. As for the dish Gumbo, well, I will make that this weekend!

Ganges is a condensed sans serif typeface inspired by Central European advertising typography from late XIX century. The font has condensed proportions and original letter shapes. Ganges is designed mainly for editorial design, especially for display use, as well as short paragraphs of text. Its narrow proportion makes it very practical to use for posters and magazine covers. Characteristic letter forms fit great for branding, logo and packaging design. It is also a very interesting choice for websites and e-book headlines. Ganges family consist of 27 fonts - 9 weights, 9 italics and 9 obliques. It supports extended set of latin languages, as well as broad number of OpenType features, such as case sensitive forms, standard and dicretionary ligatures, stylistic alternates, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Here's a unique and unusual font pack in the tradition of late 1960s psychedelic poster and album cover styles. Perfect for that flaming psychedelia vibe from the Haight-Ashbury scene in the Summer of Love era. Combine Regular and Fill versions to create a two-toned design for a super offbeat and eye-catching look. Once loaded on your system, the three versions of the font show in your menu as the following three "weights": Psychotropic Experience Regular, Psychotropic Experience Fill, and Psychotropic Experience Solid. The 3-alphabet collection works together seamlessly to allow you to assign one color to the body of the letter, and a second color to the inset fill areas. Just copy your text block, paste in place, reassign the font to the Fill version, choose a complimentary color, and off you go. All caps Fonts.

Jetlab is a typographic time machine that drops you squarely into the techno-futuristic optimism of the 1960s, 1970s and 1980s! While certain weights may conjure familiar space race-era logos from the sci-fi movies, board games, sports teams, new wave bands and sneaker brands of the late 20th century, the complete 45-weight Jetlab font family is loaded with modern features to power your retro-futuristic designs with near-infinite versatility. Features: 45 weights provide widths from squeezed to stretched and weights from light to heavy, plus reverse-stress (that's thick horizontal strokes with thin verticals) high, medium and low crossbar options upper and lowercase letters provide two distinct styles a four-axis variable font provides precise control of width, vertical & horizontal weight, and crossbar height 500 glyphs support 223 languages, including Western & Central Europe and Vietnamese

Heimat Mono is the monospaced typeface family within the Heimat Collection, also containing Heimat Didone, Heimat Display, Heimat Sans and Heimat Stencil. Heimat Mono is a legible typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Mono’s character set provides two alphabets, the regular one plus an alternate design that comes across as less suspenseful. Heimat Mono [684 glyphs] comes in six weights and contains an extra set of alternate glyphs, many ligatures, lining [proportionally spaced and monospaced], hanging [proportionally spaced and monospaced], positive and negative circled for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

Game over. Insert coin to continue. 1 coin, 1 play. Credits 00. Screener is the latest child of arcade alphabets. Not too trendy, not too retro, not too stand-out, yet clear and fresh. Although it boasts plenty of the traits of its origins (early screen technologies), it manages to maintain a balance between the elements of its 1980s origins and the mechanical yet transparent late 20th century techno/pop design. Precise and geometric, solid and strong, Screener looks great on screen as well as in print, in tracked small sizes as well as in teaser headlines. Screener comes in two widths and weights, with italics, and extra sets of symbols and numerals (enclosed, fractions, superiors, inferiors, etc.), as well as two weights of small caps. Screener is available in separate packages, or in a value package that contains all twelve fonts.

Yes Script says Yes! Yes Script is a bold connected brush script inspired by the typography of the late 60s and 70s. Yes Script is not an anachronistic vintage type -due to it’s clean features and straight edges it’s more of a contemporary design suitable for branding, packaging, magazines and so on from digital to print. Yes Script is equipped with Contextual Alternates and Standard Ligatures that are automatically on and help to keep the flow of the font natural and connections between letters smooth. In addition there’s Swash, Titling Alternates and two packs of Stylistic Sets. Access the alternates in any OpenType savvy software or seek the Character Palette for even more alternates. Stylistic Set 3 is packed with 24 swooshes and ornaments set in letters a-x. Yes Script is PUA encoded so you can access the alternates in any software.

The Rosella™ family, by Sabina Chipară, is an elegant and playful suite of typefaces that are ideal for book covers, social announcements, packaging and posters. Inspired by late 19th century engravers typefaces that mimic the delicate and ornate hairlines of steel and copperplate engraving, the family’s foundation is built on the dramatic Solid design and then expands to Deco, Engraved, Flourish, Hatched and Inline styles. Rosella also takes to color like the beautiful Australian parrot it is named after. Words set in the typeface come alive when vibrant colors, or tinted backgrounds become part of their plumage. While modern as today, the design also has a quiet antique vibe that brings an understated refinement to a variety of hardcopy projects. Rosella is a typeface for those times you need a design that stands out from the crowd – but with grace and composure.

Police JNL was modeled from one of the many fonts created by the late Alf Becker exclusively for Signs of the Times magazine during the 1930s through the 1950s. This was a bit of a difficult design to translate into a digital font file, because the individual characters did not follow a formal structure as to the width and length of the cast shadows or the letter shapes—such is the way of the hand-lettered alphabet. Special thanks to Tod Swormstedt of ST Publications (and curator of the American Sign Museum in Cincinnati) for providing the archival material to work from in creating this font. Police JNL has a limited character set. The basic A-Z character is on the upper and lower case keys, along with numbers, some punctuation and the dollar and cents signs.

At first glance, the lettering style of Technopen JNL seems to emulate the computer-age fonts of the 1980s. In actuality, this font is derived from an alphabet sample found in an instructional booklet for the Esterbrook Drawlet Pens. The Drawlet line was Esterbrook's answer to the iconic Speedball pen points sold through their chief competitor, the Hunt Pen Manufacturing Company. So, what seems to be late 20th Century typography is actually from vintage source material. In fact, the entire contents of the instructional booklet were copyright 1929! A few minor changes were made to the original A-Z alphabet and additional characters were added. The name Technopen is a shortening of the term 'technical pen', which is both a nod to the techno age of the 80s and the technical instruments of the past utilized for drawing and lettering.

I arrived this concept as a means to fulfil a need for a simple yet radical semi-sans with rounded terminals. My concept called for a modular approach so a single weight font family resulted, the monoline stroke weights being one-eighth of the cap height and the x-height five-eights, the descent two units. Within these constraints I found it was simple to devise an alphabet which met my need for quirkiness whilst retaining its legibility. As for the outline, shadow and contour variants - well they just seem to work. If you are wondering - and you don't hail from the "Land Downunder" - Canberra is our nation's capital; Bondi - "water breaking over rocks" a beautiful beach in Sydney; Uluru is the name given to the world's largest pebble, (formerly known as Ayers Rock); Kakadu is a national park in the "Top End" and Koomerang means "hill of clouds" - all place names in their respective Australian indigenous languages. Come on down - the natives are friendly.

Love Script came about as a way to finally answer the requests by individuals to take my brush pen/marker lettering styles and turn them into a typeface. Literally, everything lined up perfectly and there was a renewed impetus to push this genre, this style of lettering I have adapted over the years into what will become a series of brush pen/marker typefaces. The first I chose to complete was a high-contrast variant… I seem to be attracted to high contrast, high energy letters (think Lust, Lust Slim and Lust Script). As I was finalizing everything, I kept saying ‘I love this script’, which ultimately led the christening of the typeface as Love Script. For more fun, visit the Love Script Minisite Designer’s note: for this font to truly sing, be sure you have Contextual Alternates on in your OpenType settings. Hope you love it as much as I do.

Strak is a font that was born out of admiration for the work of E. Vermeulen, a Belgian artist known for his tight, precise line and an unseen masterpiece that is spread around the world. He has published and exhibited his work in London, Liverpool, Angoulême, New York, Geneva, Amsterdam, Lyon and Turku (in Finland) and he even signed for the New York Times. Based on a few characters, a complete font was composed by Kustomtype. After a few sketches, Strak came to life. The name Strak, in this case, refers to the slender, beautiful woman with the correct waistlines and proportions. The font is designed this way; it is completely hand-drawn, digitized and can be used in all modern and graphic media. Strak is available in 8 different styles, has class and will make many people's mouth water when they see it on your designs. Do you want quality and style? Then Strak is the font-perfect solution!

Supertuba is a :) geometric sans vernacular humanist :) display type family with 6 weights. There's literally dozens of ligatures in this font so It works very well for flyers, package, stickers and posters, also you can use it as a text font if you're looking for something slightly bold. Supertuba has multilingual support and useful open type features. Letter boards that used to be seen in churches, dive bars and butcher shops are the main inspiration for this typeface. The name Supertuba came from an old supermarket that no longer exists in the city of Indaiatuba , I just believe this name is super fun (at least in Portuguese) and wanted to keep it alive. I was in Indaiatuba when I get started designing this typeface so this is fair enough. Supertuba the third piece of a particular trilogy of fonts that Stubby and Stubby Rough take part, from the lazy vernacular drawing to an unusual geometry. Enjoy!

Komu is the revival of a style of letters frequently used on billboards during the socialist period in the former Czechoslovakia. These were usually uppercase letters made of paper and covered with a layer of aluminum foil. People just had to pick the letters (that included a variety of widths and sizes) out from a box and pin them up on a styrofoam billboard, thus making it easy to announce any event. Komu consists of two styles. Version A is rather squarish and includes some weird characters (K, 5, narrow E, strange diacritics) while version B is more rounded with most letters equally wide (with the exception of E, F and L, which look really wide next to the rest). The optical disparity of the original letters was kept, so that some of them look slightly darker than the others. Komu is intended to be used on posters, books and other products about Socialism in our region and includes full support for languages based on latin script.

Cowboya is a typography with concave Tuscan serif very contrasted and modernist inspiration with letters in small caps, includes 4 versions of the font that can be used by superimposed layers which results in multicolored typographic titles. For the design of this typeface I was inspired by the credit titles used in the black film directed by Frizt Lang in 1950 called "The House of the River", to the drawing of the original forms of the letters i added decorative elements to give the fonts a festive character, traditionally this type of decorative fonts that emerged in Italy in the nineteenth century were used in large headlines and posters that were closely related to circus shows, carnival or environments of the Far West American. I have also rounded the sharper joints of the antlers and counterforms to create a contrast with the sharp Tuscan serifs which brings a modern background of retro inspiration and soft shapes.

Oddsorts’ Ciao Bella family pairs the funky elegance of a hand-drawn copperplate script with a bouquet of ornament fonts. Ciao Bella’s expansive range of alternate opening and closing forms, word-connecting ribbons, and swash characters use the power of OpenType to create a genuinely hand-lettered look. Bursting with over 2,000 characters, the Ciao script mates broad linguistic support with expressive possibilities galore in an easy-to-use software experience. But then there are the ornaments! What’s truly innovative about Ciao Bella’s ornaments is that most of the characters come in pairs that can be set in multiple colors without any stacking, layering, or aligning. They work in any application that supports kerning — even most word processors. See the slideshow and Gallery link above to see how they work. Ciao Bella marries the best of the old world — the warm, classic feel of ink on paper — and the new — the amazing capabilities of “smart” OpenType fonts — in a union that’s sure to delight.

In this font from graphic arts veteran Tracy Sabin, his trademark whimsy and playfulness are exhibited in spades. Sabin takes a multitude of influences, from mid-century art nouveau to today’s pleasant dream-pop doodles, and mixes them up into a sweet and animated alphabet that oozes energy, enthusiasm and honest innocence. Alongside the chromatic and colour-play possibilities that come with two layerable fonts, the jumpy, rough and curly elements that make up Schneeberger’s construct make this face a unique and essential tool for display and packaging aimed at catching the eyes of kids and teens. Use it for fantasy flicks, sugar-fix wrapping, and the elaborate backyard birthday party invite where the program is just as appealing for the adults as it is for the children. P22 Schneeberger comes in solid (Black) and outline (Regular) variants, each of which containing more than 400 characters, some very cool built-in stylistic alternates, a bunch of ligatures, and support for the majority of Latin languages.

LiebeKlara is LiebeFonts’ most delicious gourmet creation yet. The mouth-watering look of savory swashes and the fine aroma of masterfully sprinkled contextual alternates will make everyone happy—your spouse, family, and friends. LiebeKlara is festive enough to sit on wedding menus, but still warm enough to give everyday dinner invitations the personal flavor they deserve. LiebeKlara likes company—for example when her girlfriend LiebeErika comes over and they have some LiebeOrnaments with their LiebeMenu. LiebeKlara also likes travelling! She speaks most Western languages fluently and with a cute accent. Try it for yourself—LiebeKlara is calorie-free but (or because) she is very delicate. We hope you like her as much as we do! Bon appétit! LiebeKlara comes with a tasty variety of ligatures and alternative forms available through OpenType features. (Please make sure your software supports OpenType if you wish to use the advanced features.) The font contains over 580 carefully hand-crafted glyphs—so it’s more like two or three fonts in one.

DecoSpring is a decorative art-deco family that was inspired by one word in an advertisement in a 1978 edition of my local newspaper. I could not find a typeface that matched it so decided to create one, which became DecoSpring-Regular. It is caps only, with an alternative set of capitals on the lower-case keys. Characters with very thick stems invite interior decoration and I opted for floral decorations. DecoSpring-Flowers can be used alone or it can be layered on top of the regular style to create colored flowers. Changing the width of the bolder stem resulted in two more style, the light and thing styles. Another set of four styles, the Simple set, was formed by eliminating the split in the stems by merging the two parts. All the DecoSpring faces are display faces to be used in small doses, and especially the bolder ones, at large point sizes.

Derived from a photograph Rian Hughes took in Hong Kong, the Roadkill family of typefaces is a literal interpretation of rough and worn road lettering. The original provided almost all of the key character shapes, with the others being designed to keep the unique hand painted feel intact. Most of the letters have alternate versions provided. This font works equally well at wider letterspacing settings. Roadkill Alternates provides curved versions of the 2 and the S, a G with higher crossbar, and less worn versions of several other characters. The heavy version packs even more gritty wallop in a non-condensed and blacker weight. Roadkill Heavy packs even more gritty wallop in a non-condensed and blacker weight. Use in conjuction with the original Roadkill and Roadkill Alternates. A set of arrows and other road symbols again taken directly from tarmac to Mac, thus preserving the worn and eroded appearance of the original characters is also part of the Roadkill family.

Weird Better fonts are typography designs that imitate or simulate the appearance of liquids. They are often fluid and dynamic in nature, providing an illusion of movement and flow in letters and characters. Weird Better fonts can be created using different design techniques, including hand-drawn illustrations, digital effects, or 3D modeling software. Some common features of liquid fonts include: Fluid and dynamic appearance: Weird Better fonts have a free-flowing and organic appearance, mimicking the look and movement of liquids such as water, ink, or paint. Variations in thickness: The thickness of the lines and curves in Weird Better fonts can vary, creating an uneven and organic appearance. Versatile use: Weird Better fonts are commonly used in creative designs such as logos, album covers, and advertising campaigns to create an eye-catching and memorable visual impact. Overall, Weird Better fonts are a unique and creative way to portray text, giving a sense of energy, motion, and fluidity to design projects.

HS Safa, an elegant Arabic display typeface carefully crafted for book titles, creative graphic projects, and modern logos. Categorized under "titles," it draws inspiration from the rules of Fatmic Kufi calligraphy, infusing a beautiful idea and special dimensions that preserve the allure of the Arabic font and its fixed rates. HS Safa is built upon the foundation of HS Sama font, but with a fresh and stunning molding (ornament) for the vertical strokes, adding a new dimension to its charm. This intricate detail enhances the overall visual appeal, making HS Safa a captivating choice for any design project. With comprehensive support for Arabic, Persian, and English languages, this typeface is versatile and accommodating. Available in two weights, Regular and Bold, it effortlessly integrates into the collection of contemporary Arabic Kufic fonts, catering to diverse design preferences. Whether seeking a modern Arabic font with a touch of uniqueness, HS Safa is a perfect addition to elevate any creative endeavor.

The concept of Biscotti rised from a personal research into a system of styles that we commonly consider “vintage”. One above all, the Victorian typography that has been rediscovered and widely re-studied during the 70s. Today, thanks to the technology innovation in digital typography fields, Biscotti is certainly an interesting subject which expresses an appassionate and nostalgic homage to a vintage font, seen from the perspective of a technical inspiration. Biscotti is composed of two styles: the “default” and the alternative one. The first is of course more conservative and formal, while the alternative formally chooses a change of the diagonal lines into curves, so it creates a much more friendlier reading. Biscotti consists of 4 styles that can be combined by layers in order to form different ways of reading. This renewed effect increases exponentially the potential use range of this typography. Biscotti has 517 characters; and are composed for 220 latin languages.

The inspiration source for MFC Enschede Borders is a collection of floral border treatments from the 1904 “Ornamenten Hoofdlijsten en Sluitstukken” by Joh. Enschedé & Zonen, Haarlem. For the first time, this decorative border collection is available digitally. You can start with a new document or work on a new layer within an existing document. Select MFC Enschede Borders from the font menu. (Some users may have font previewing enabled in the font menu which will cause the font name to appear as border elements, disable this option in order to choose the name) Make certain that the point size of the font is the same as the leading being applied to the font so the borders will meet up properly. While we’ve adjusted this within the font, your program may override these settings. For instance a 12 point font should have 12 points of leading. Download and view the MFC Enschede Borders Guidebook if you would like to learn a little more.