Just like my previous typefaces, my new one, Smooth Buggaloo, also finds its roots in music. The Boogaloo was a popular music style in the 60s, a mixture of Latin and Rock and Roll music. Later Salsa took over this genre. Latin music represents a vibrant, lively and an uncontrollable need to move. In Smooth Buggaloo, you will recognize a swing, flair and a hint of seduction. But despite its vibrancy it can also be understood as a serious, simple and clean typeface. The characters vary between a handwritten and a designed look. Smooth Buggaloo is very suitable for any graphic purpose, like logo- and poster design and it can also be used for longer texts.

Fireplace is a decorative logotype font. Drawn and created by Mans Greback in 2020, this script typeface has a cozy and warm holiday vibe, bringing the thoughts to a Christmas Eve and winter season. It is a vintage sport lettering that has velocity, style and class. Use + * ¤ × to create snowflakes, sparkles and stars. Use [ ] < > after any word to create a swash. Example: Snow] For a longer swash, use several characters: Decorative>>>> The typeface is provided in four styles: Regular, Italic, Bold and Bold Italic. Each style contains alternates and ligatures, giving the calligraphy true customized possibilities. The font has extensive lingual support, covering all European Latin scripts. It contains all characters you'll ever need, including all punctuation and numbers.

Kamerik 105 Text is the text specific variation of stablemate, Kamerik 105. With a shallower x-height and longer ascenders and descenders, its more traditional proportions make it more economical with space and better suited to continuous text. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The Kamerik 105 Text family comprises of four weights and includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. It is closely related to Kamerik 205 Text, which offers variations in some characters, most notably a two-storey lower case a and g.

In the last years our society has change a lot. Nowadays cities and countries are no longer static territories with well-drawn borders and a population perfectly defined. Globalization is a fact and the best consequence of it is the mixture of races, ideas and cultures, and this is exactly what this typography aims to show. Albollón is at once a semi-serif and a semi-sans serif typeface; it is a mixture made with the best parts from both sides. This way is how I understand a healthy society and a healthy design too. Albollón is designed to work in all types of text, both long and shorts, big and small ones.

Now available as Opentype font with extended character set, Coranto 2. It is originally based on Unger’s typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint. Coranto 2 has a larger x-height and in many places has been made more robust. Over the past 25 years newspaper production has seen spectacular improvements in paper and print quality, the introduction of colour printing, and vastly better register. Newspaper production still demands a lot of letter forms, but advanced printing brings out details better and makes typography more appealing to readers. For text type the newspaper is no longer an environment in which survival is the chief assignment. Today, newspapers are not merely a matter of cheap grey paper, thin ink and super-fast rotary printing, and type design no longer has to focus on surviving the mechanical technology and providing elementary legibility. Now there is also room to create an ambience, to give a paper a clearer identity of its own; there is scope for precision and refinement. One consequence of this is that newspaper designers can now look beyond the traditional group of newsfaces. Conversely, a newsface can be used outside the newspaper — not an uncommon occurrence. The update to this beautiful font family, Coranto 2, includes the addition of over 250 glyphs featuring full Latin A language support, new ligatures, 4 sets of numerals, arbitrary fractions and superiors/inferiors. Furthermore, kerning was added and fine tuned for better performance.

The courageous Russian author of the best seller Anastasia, Vladimir Megre, once said that this remarkable woman would inspire creative people around the world to produce their best work. Since I consider myself a creative person who has been deeply touched by her story, I sincerely hope that this will be true for me also. Anastasia talks a lot about God, the wonders of the natural world and how all things have been created so perfectly. This belief in universal perfection, however, is not confined to mystics alone. Many great mathematicians and scientists, including Albert Einstein, were of the same opinion. Having read Dan Brown’s The Da Vinci Code, I became quite fascinated with the so-called Fibonacci series; "a sequence of integers in which each integer (Fibonacci number) after the second is the sum of the two preceding integers; specif., the series 1, 1, 2, 3, 5, 8, 13, . . ." (Webster’s Dictionary). These mysterious numbers, which are said to give divine proportions, are found throughout nature in everything from a rose to a spiral galaxy. Many believe that this reinforces the argument that there is a divine intelligence back of creation. With that in mind, I thought it would be interesting to see if I could somehow create a font using these numbers in the design process. If I have succeeded - even partially - in attaining these mystical proportions, it will definitely have been worth all the hard work. And, I sincerely hope that many will enjoy using this font in producing their own best work.

Highand – Gothic Font A Font of Horror Highand – Gothic Font encapsulates the essence of terror, designed meticulously to send spine-tingling shivers down your spine and evoke chilling emotions. Dreadful Display Furthermore, Highand’s unnerving aesthetics deliver an atmosphere of dread, creating an unforgettable and unsettling experience for your audience. It’s the perfect choice for spine-tingling displays that demand immediate attention. Terrifying Typography With every character, Highand conjures a feeling of impending doom. Its jagged edges and macabre curves create a nightmarish impression that lingers in the mind. Ideal for Horror-themed Projects Highand is tailor-made for horror-themed projects. Whether it’s for spine-chilling horror movie posters, eerie Halloween invitations, or haunting haunted house flyers, this font sets the eerie tone with sinister grace. In Conclusion Highand – Gothic Font is your sinister accomplice in design, evoking fear and suspense with every meticulously crafted letter. Embrace the darkness and plunge your audience into an abyss of fear. Make your displays truly terrifying with Highand’s chilling presence, ensuring an unforgettable and spine-tingling experience that leaves a lasting impression of horror.

Introduced by Timurtype Studio! Calista Brighton is a Handwritten Script Font This font depicts a journey of typography where the art of handwriting transcends the ordinary, revealing the captivating dance of ink on paper. This beautiful font, decorated with stylish alternate ligatures, weaves a narrative of elegance and sophistication. Every stroke is a stroke of creativity, proof of the perfect blend of tradition and modernity. As your eyes trace its curves and turns, you are transported to a world where each character is a work of art, an embodiment of meticulous craftsmanship. The interplay of alternating styles provides a rhythmic rhythm, inviting the eye to linger on the page, enjoying the visual symphony of each letter. It's not just a font; it is a visual poem that whispers tales of timeless charm and unparalleled elegance, leaving an indelible mark on the design canvas." Calista Brighton Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

Baby Megista is a calligraphic script font that comes with beautiful alternate characters. copper calligraphy mix in handlettering style. Designed to convey an elegant style. Baby Megista is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. Its classic style is perfect to apply to all kinds of formal items such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Baby Megista has 304+ glyphs and 150 alternate characters. including multiple language support. It features OpenType with alternative styles, binders and character swashes, which allows you to mix and match letter pairs to suit your design, as well as a touch of ornamentation to make this font look elegant.

Font editors allow one to blend fonts, that is, to take two different fonts and create a new one by averaging the two source fonts. This feature is responsible for the many different weights that come with some modern typefaces. It can also be used to blend completely different fonts, though these blends will require a lot of cleaning and correcting to make them useable. EuroikaKamp began as a blend of two vastly different faces: Euroika, a face with a lot of contrast, straight lines, and smooth curves, and KampFriendship, a hand drawn serif that is almost mono linear. The result is an odd, quirky face that may be useful when one wants a very readable font without the precision and formality of a standard text font.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Luxurious Bolgan serif with an elegant serif font style with a unique character by combining geometric shapes with organic curvy details. This is a unique typeface for your personal personality. Inspired by old style serifs and contemporary serif fonts. The extreme contrast between thick and thin strokes gives a harmonious and stylish look. The elegance and sensuality of serifs are enhanced by binding, alternating, and sweeping. Bolgan Features: multilingual PUA encoded alternative binder. Perfect for a variety of uses. From greeting cards to magazines, wedding invitations, logos to websites etc. To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. If you need any help please contact me :)

Font design meets architecture – the unique and architectural design of the urban villa “Dupli.Casa” by the architect J.Mayer.H triggered the inspiration for the typeface “La Casa”.
Inclinations and curvatures mirror the linear, modern impression of the architecture. The overall impression of the sans serif accounts for the great readability, even in lower point sizes – perfect for the design of books and magazines. The fresh and modern appearance of the font is particularly suitable for corporate designs of enterprises. The seven-font weights support more than 100 languages and the Cyrillic characters ensure a versatile and international use. The low contrast, the reduction of the corner points and the clear nature of the font make “La Casa” perfectly applicable as a web font.

Yseult is a ultra-romantic, elegant handwritten font, reminiscent of pre-Raphaelite beauties and classical paintings. It refers to the opera Tristan und Isolde (also spelt as Yseul, Isolda etc.) in three acts by Richard Wagner. The opera was based largely on the romance by Gottfried von Strassburg. Its design was influenced by Genevieve and, less directly, by Silver Dagger. Suggestions for use: - wedding stationery - greeting cards - valentines day media - beauty product media - lingerie tags - women's magazine pages - classical music media - theatre posters The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). (It has all the accented characters used in the major European languages).

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Cassandra Plus is my revised version of Cassandra, it can now be used all over Europe except Greece and Russia. I changed the weights a bit to make them more distinct. The Font has two widths of letters, wide Capitals on the (shift) uppercase-keys and narrow ones on the (no shift) lowercase-keys. You can match them as you like, but you should avoid having the same letter in one word in two different widths. But if yoyu are really daring you can use one narrow S and a wide one, it might still look good. It will almost always look good! Cassandra is my “bow” to Adolphe Mouron Cassandre. Yours sincerely mixing things up for you again Gert Wiescher

Proudly present new our font Satnight Brush. Satnight Brush is a Handwritten Font with less texture. I made Neutral Autumn on smooth paper, so that the texture that is produced is not too much. This is perfect if you don't really like texturing fonts too much. Satnight Brush suitable for various projects such as stationery invitations, social media, logos, weddings, branding, graphic design with the addition of several binders and swashes. and can be combined with various types of serif fonts to perfect the project you want to work on. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me. Thanks for purchasing and have fun!

Cahuenga embodies clarity in text and distinction in display. Throughout the development process, references were sought out only as moments for consideration presented themselves. Thus, the development was long and complex with Cahuenga not prescribing to a single distinctive model as a foundation. Exploration around formal traits was influenced as much by aesthetics as they were by desired functional outcomes. Cahuenga organically holds a tone and pitch that is sincere. The name is emblematic of many who drive through the Hollywood area of Los Angeles. As in many parts, the driving route is convoluted from point A to point B. However, it seems more often than not, that when in the Hollywood area, one usually ends up on Cahuenga Boulevard at some point.

Pacific Script is a font inspired by an alphabet created by Howard Trafton in the 1930s. However, I felt it needed some changes to bring it to the cutting edge of 21st century font design. Though designed as a display font, it works very successfully in longer passages of text, however, it should not be used in font sizes less than about 15 point. Small x height in contrast to extravagant caps gives the font a very dramatic feel. Though it has cursive qualities, the characters in this font do not connect, making it slightly more legible and less like handwriting. The inclusion of 26 alternate upper case characters give the user the freedom to create a hand crafted design. Language support includes all European character sets.

Atmosfera is a classic Didona typeface, recognizable by its extreme vertical tension, great contrast between thin and thick sticks and its straight and fine linear serifs that is angularly related to the staff of the letter, giving them an excellent legibility and a very clear and elegant appearance. In the design of this version, we chose to eliminate some serifs to give it a more avant-garde and modern look while maintaining an elegant style. With its 890 glyphs, it is enriched with a complete set of OpenType Type features: swashes, ligatures, alternates, stylistics sets and small caps, even so in the characters used in Western languages.. Atmosfera is an elegant text typeface that offers a wide range of possibilities.

Nyfors was a sudden idea. I noticed an ad in a magazine, with some handtexted words. I don't recall what the ad was about, neither the words. When I later on tried to remember how the single characters looked like and began to draw them, the result wasn't bad at all. I am not longer sure that they resemble the characters in the ad, but it doesn't matter. Nyfors is a nice handtexted typeface, whatever its origin. There is a small stream in Tyresö where I live and work, called Nyfors. During some centuries there was a center of small scale industries along it, and they used its water to run their machinery. The typeface has its name from that stream. Nyfors was released in 1995.

Meet Proda Sans, a humanist typeface with geometric construction inspired by the humanist-style sans serif faces that were popular in the mid 20th-century. Its calligraphic influenced letterforms have been adjusted to have geometric’s low-stroke-contrast for better legibility. The medium x-height give it a warm and delicate appearance, and keep your page bright. It's a family of nine weights plus matching italics. The thin and the black weights are great for display purposes. The light, book and regular weights are well suited for longer paragraphs and smaller texts.​​​​​​​ Proda Sans is developed for advanced typography needs. The OpenType fonts have an extended character set to support 200+ latin-based languages. For full presentation please visit my Behance post.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

New Millennium is one of three font families that share a common name, a common design philosophy, a common x-height, and basic character shapes. (The others are New Millennium Sans and New Millennium Linear; all three work well together.) New Millennium is a serif face of what some might describe as a "modern style." But although it has flat serifs, it differs markedly from, say, Bodoni or Didot -- especially in the italic, which is a radical departure from tradition. (The bold styles are in fact sans-serif, identical to those of New Millennium Sans.) There's also a nice, dark Headline style for display text. New Millennium is a distinctive, legible, accessible text face that might be well suited to, say, scientific documentation.

Tabac Slab was created by combining several contradictory influences, the result of which is a universal linear font. The combination of brisk serifs and refined calligraphic details in the structure of the characters serves to create an original concept that mixes influences from both book and advertising graphics. Serifs aid legibility in long texts, while small drawn details realise their full potential in sizes of twenty-four points and larger. The basis for our Egyptienne was Tabac Sans, with which Slab logically forms a harmonic duo. The addition of bracket-less serifs caused the typeface to thicken and become solidly anchored on the lines, giving a firm answer to all typographers who like to complain about the slight exuberance of grotesque fonts.

Javiera is a geometric sans-serif typeface with humanist attributes. One of its main features is its small x-height, which makes ascenders and descenders look longer. The contrast gives the font a more stylised look, typical of humanist fonts. Curves and rounded terminals make Javiera a smooth, friendly and versatile typeface, well-suited for branding, magazines and publishing projects. User can take more advantage of the versatility of the font by enabling alternative characters included in the set. Javiera comes in 6 styles—from Thin to Black—plus matching italics, giving a total of 12 fonts. The font’s extreme weights are perfect for display use. Javiera family contains a set of more than 400 characters and supports over 200 different languages.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Leonard is a bold brush script with strong character. Leonard has low contrast, smooth letterforms and high x-height. It’s great for single words or longer text passages; use it in logos or headlines, in packaging, posters, illustrations or product design. Leonard is packed with OpenType features. It has Contextual Alternates and Standard Ligatures that help to maintain the flow and keep the letters from colliding. These features are automatically on. In addition it has Discretionary Ligatures, Swash, Stylistic and Titling Alternates that you can access from OpenType controls for more custom look, and you can check the Glyphs palette for even more alternates from the total 534 glyphs. All characters shown in the posters can be found inside the font.

Gaultier is the result of over 5 years of work on a typeface inspired by my favourite creators in European typography – Claude Garamond, Robert Granjon and Eric Gill. The main idea of the project was to create a sans-serif antiqua with all features reserved for serif typefaces. In addition to the rich set of characters, Neuropa includes: Small Caps, Superscript, Subscript, Ligatures, Discretionary Ligatures, Contextual Alternates, Swash Variants and 5 different styles of digits. Upright styles with delicate contrast corresponds with the expressive form of italics inspired by Granjon italic construction. Gaultier will work wherever we want to emphasize modernity without forgetting tradition. The sharp character of the whole family is perfect for longer texts, visual communications and branding purposes.

Leathery and Loopy Letterer of Legend, Richard Starkings has pointed his Apple Pencil at Procreate on his iPad and proceeded to raise the bar on lower case for this scandalous series of squiggles we had to call Rendered in the style of ShoutOut, this jaunty new Comicraft offering features both upper and lower case and recreates a pen lettering style of which we honestly thought Old Man Starkings was no longer capable! Suitable for jolly journal entries, hand-written notes to loved ones and sundry laundry lists, SCOUNDREL does more than Shout, and it does it quite quietly too! Scoundrel includes four weights (Regular, Italic, Bold & Bold Italic) with upper and lower case alphabets plus Western and Central European international characters.

Manhattan was designed in 1970 for ITC by Tom Carnase, who also created Avant Garde Gothic. The distinguishing characteristic of this designer's work is found in the emphasis on the thick-thin constrast. In this case, Carnase approached the border of the impossible. The heavy vertical strokes stand opposite the finest of lines and the thick columns dominate the overall look. The basic forms are strictly constructed, as are those of Morris F. Benton's Broadway of 1925, to which many parallels can be found. Manhattan is best used for applications which will not be placed too far from the viewer, as at too great a distance the fine lines can no longer be seen. It should be used exclusively for headlines in medium point sizes.

Sackers Gothic is part of the larger Sackers series, a collection of fonts drawn from templates for producing engraved stationery and social cards by Gary Sackers, a Charlotte, North Carolina intaglio printer. Many typefaces were made from similar sources, including Monotype’s Engravers series, as well as Jim Spiece’s ITC Blair, and Mark van Bronkhorst’s Sweet Sans. Sackers’ typefaces, which were initially made into photo-set type, were digitized by Compugraphic and released in the late 1980s. Sackers Gothic has since become a popular choice for conveying sincere and plainspoken language on dust jackets, posters, and of course, in stationery. The face pairs well with display faces of a disparate nature, and serves as a ready foil for anything requiring an air of typographic sophistication.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Merlo Neue is the younger brother of Merlo. New family received refreshed, more square proportions and a new shape of many glyphs. However, what is the most important in new Merlo, is the wide range of instances – nine new weights, from Hairline to super dark Black – which allows to use the family in a complex way, depending on the user’s needs. Italic version has narrower and lighter proportions. Font has a glyph set for latin script and old-style figures. Merlo Neue would be a great choice for display use as well as for the longer texts. Font Merlo Neue is inspired by a “You And Me Monthly” published by National Magazines Publisher RSW "Prasa” from May 1960 till December 1973 in Poland.

Hello Bakista Script is a modern calligraphy font featuring a varied baseline, smooth lines, a classic and elegant touch. Can be used for various purposes such as headings, signatures, logos, wedding invitations, t-shirts, letterheads, signage, labels, news, posters, badges etc. I created this Hello Bakista Font inspired by classic calligraphy concepts and made it into a modern style, and I also added some really interesting binders and alternatives when we applied them. I also tried to execute in a different way so that it resulted in this Bela Yasmine Script font. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Thank you,

Brix Slab Condensed and Brix Slab is an extended family of 24 fonts. It was designed by Hannes von Döhren & Livius Dietzel in 2011. Brix Slab Condensed is a robust slab serif family with subtle details. It's optimized for longer texts and highly readable in small sizes. Brix Slab Condensed is intended to be used in applications like magazines, newspapers and digital devices. It also works great as a corporate typeface. With more than 700 glyphs in each font, Brix Slab Condensed is equipped for complex, professional typography. As an exclusively OpenType release, these fonts feature small caps, five variations of numerals, arrows and an extended character set to support Central and Eastern European as well as Western European languages.

Crimson Foam // Chic Stylish. is a beautiful chic script that is suitable for branding, weddings, social media, product design, stationery, advertising other romantic projects. anything. Features : Basic Latin A-Z and a-z Alternate Numbers Symbols Ligature Kerning We have also added 30 style character binders (letter combinations) that have been built (see preview above) to make this font very beautiful. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Thanks and have a wonderful day,

The Castelo is a unique and very elegant font for brand and logo designs. Based on my experience as a graphic designer working in many companies, I am often asked to design a logo with a unique style but with an elegant shape. So, I tried brainstorming and came up with this font to get ideas out. It is suitable for BRANDING and LOGO DESIGN. You will get a classy, elegant, and of course unique logo with this font. To make it look more unique, I also prepared some binders in it: The Castelo also includes the full set: uppercase and lowercase letters multilingual symbol number punctuation Hope you enjoy our fonts and if you have any questions feel free to message & I'm happy to help :)

Altissimo is a display type family, derived from the Ample typeface, it has large x-height, optical mono linear and a bit squarish in nature. It has a smooth curve instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasise the message. It is graphically strong and commands viewer's attention. The overall appearance of this type is suitable in setting it as heading, title, headline, etc. The type family consists of seven weights viz. Thin, ExLight, Light, Regular, Medium, Bold and ExBold. Altissimo is designed by Aakash Soneri in a period between 2017 and 2018.