Bossthy is a signature font with a simple modern theme and has a unique curve in each letter, which is written in natural hand strokes making this font more natural, This font in addition to having a dazzling and elegant shape is also equipped with various alternative options that make it easier for you to create beautiful and extraordinary designs This font is perfect for business cards, photography studios, autographs, interior designs, model names, coffee late, travel, weddings, cosmetics, jewelry, social media posts, product packaging, watermarks, special events, or anything else. Start using this font to add an authentic and heartfelt vibe to any design project.

A serif font that we created special for elegant branding needs, with extra ligature and alternates in unique shape will be ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more classy and modern. And specially for Glimse font, We prepared any ligatures, and any alternate characters to help you create unlimited variations for your creative needs. Machera serif font ready with: Any options to get creative variations (combination of Alternate and Ligatures) Preview as a inspirations that you can do with Machera font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone. This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

Introducing Vangba Typeface The Vangba font is designed with a serif font concept that has a elegant stencil style. Irregular dynamic shapes but impressively regular and unique make the font "Vangba" different and steal attention. Serif typefaces such as "Vangba" are very easy to apply to any design, especially those with an retro, elegant and classic, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "Vangba"contains 656 glyphs with many unique and interesting alternative options. In addition to the regular font, there is also an italic version of the Vangba font.

Introducing Aillek, a retro-condensed font with multilingual support and a distinctive look that will enhance any project. Aillek lends a touch of retro charm to any design with its lofty letterforms and alternate characters. Your design becomes more dynamic and interesting thanks to its ligatures options. Aillek is ideal for producing vintage flyers, logos in retro style, nostalgic social media graphics, and more. It is perfect for branding initiatives, packaging design, book covers, and more due to its condensed letterforms. It is adaptable for any project that needs to reach a large audience thanks to its multilingual support. Aillek is a must-have for any designer, marketer, or anyone looking to add a dash of nostalgia to their work because of its distinctive design and features. It’s ideal for those who want to add a touch of nostalgia to their designs as well as for those who want to create designs that evoke nostalgia and vintage aesthetics. Make Aillek your go-to font for all your retro-condensed design needs by taking advantage of this opportunity. Don’t wait, get this special font right away, and start making designs that will be remembered. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Presenting the 🗯️💬The Browood Layered Comic Font💬🗯️ by alitdesign. The Browood Layered Comic Font is inspired by the style of letters in comics that have less serious and fun characters. The lettering of the Browood Layered Comic Font is a sans serif with display font characters which gives a fun and design impression for children. The Browood Layered Comic Font has 3 layered font. The Brootahh font is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The Browood Layered Comic Font also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The Browood Layered Comic Font creating a Comic and non formal themed design is very quick and easy. The Browood Layered Comic Font is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Browood Layered Comic Font contains 544 + 230 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

Introducing "Morvifun" - a captivating font that combines the elegance of Victorian aesthetics with ornamental details. This classic serif typeface showcases the timeless charm of Gothic styles, resulting in a visually stunning and versatile product. With a total of 717 meticulously crafted glyphs, Morvifun offers an extensive character set that enables you to express your creativity and bring your designs to life. From uppercase and lowercase letters to numerals, punctuation marks, and special symbols, this font provides a comprehensive range of options to suit your design needs. The Morvifun font's classic serif style adds a touch of sophistication and refinement to any project. The carefully designed letterforms exude an air of elegance, making it ideal for invitations, formal correspondence, branding materials, book covers, signage, and more. Whether you're aiming for a vintage-inspired design or a contemporary piece with a hint of nostalgia, Morvifun is a reliable choice. Unlock the enchanting world of Victorian aesthetics with Morvifun. Its fusion of ornamental intricacy, extensive glyph set, PUA Unicode support, and classic serif style make it a versatile font that captures the essence of Gothic beauty. Let Morvifun elevate your designs and transport viewers to a bygone era of grace and allure. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

"Chubs," a typeface specifically designed for large display sizes, perfect for making a bold statement. Each letter in Chubs has been meticulously crafted to possess a thick and prominent appearance, ensuring that your designs leave a lasting impact on viewers. Chubs's distinctive weight and blackness make it an ideal choice for a wide range of applications, including posters, packaging, and logos. Whether you want to create eye-catching promotional materials or design a powerful brand identity, Chubs has got you covered. Within the Chubs typeface family, you'll find two distinct styles, each with its own personality and visual appeal. The first style, "Chubs Black," features letters with a captivating slit, reminiscent of a belly that overlaps. This distinctive groove adds an extra layer of visual interest and uniqueness to your designs. On the other hand, "Chubs Filled" offers a solid and plump appearance, without the characteristic slit. This style amplifies the chubby nature of the letters, resulting in a bold and impactful display. To further enhance your creative options, both styles within the Chubs family include an alternate character set featuring a wink shadow in every letter. These additional characters provide a touch of fanciness and playfulness, allowing you to experiment and add unique elements to your designs. Choose "Chubs" for your next big project, and witness the boldness and charm that sets your designs apart from the rest. Let Chubs bring your ideas to life and make a powerful visual statement that captures attention and leaves a lasting impression.

Elevate your design projects with Cooker Cake, a vibrant and playful sans serif display font. With its charismatic style and versatile nature, this font adds a touch of excitement and creativity to any typography-based endeavor. Whether you're designing logos, posters, headers, or website elements, Cooker Cake will captivate your audience and make your text pop. Cooker Cake features all capital letters, giving your designs a bold and impactful appearance. The font also includes a wide range of numbers and punctuation, ensuring that your compositions are complete and functional. Its multilingual support allows you to incorporate various languages seamlessly, making it ideal for global projects. One of the standout features of Cooker Cake is its PUA (Private Use Area) encoding. This means that you have access to additional special characters, glyphs, and ligatures, expanding your creative possibilities and enabling you to add unique flourishes to your designs. Let your imagination run wild as you explore the various alternates and stylistic options available in this font. With its sans-serif style, Cooker Cake strikes the perfect balance between modern aesthetics and a playful vibe. It works harmoniously in both digital and print formats, making it suitable for a wide range of applications. From branding and packaging to social media graphics and advertising campaigns, this font will bring a sense of joy and energy to your projects. Experience the versatility and captivating charm of Cooker Cake Sans Serif Display Font. Let its playful and dynamic personality infuse your typography with excitement.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Big News! Tenez has been selected for the Tipos Latinos Biennial 2016 and Typographica’s Favorite Typefaces of 2015! Tenez is a Grand Slam display didone typeface from Plau. We designed it for a branding project, further developing the resulting logotype into a typeface we felt could solve many designers’ needs. Its origins are rooted in pointed nib calligraphy which can be seen in contemporary Didot and Bodoni inspired typefaces. But Tenez’s shapes are organic (these modern typefaces were originally cut by hand after all) – in fact that was the challenge we set from the start: to make a typeface as organic in construction as possible. This echoes some of late 19th century typefaces and advertising, yet we thought of it for contemporary uses. One of the several unique features of Tenez is its unusual Thin weight, in which the contrast between thin strokes and the black area left by the serifs makes for a typewriter-like personality. The italics provide a perfect counterpoint to the roman weights. Tenez was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. The family includes support for almost all Latin languages available, figure sets for almost every conceivable occasion (tables, text, you name it), alternates for the quirky beautiful R (sometimes simpler is better, but not always!) and Q (with a nice big tail for that article opener). Tenez pairs really well with our no-frills sans-serif Motiva Sans and our cute vertical connected script Primot.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Span is a modern chiseled style family that flaunts its engraved heritage with sweeping serifs and sculptural forms. Bridging the contemporary and traditional, Span appears exuberant yet dignified. Designed primarily for luxurious headlines and titles, Span’s strong vertical stress is softened by elegant organic curves while its compact height accentuates the deep serifs. The family offers five weights, each with three widths and italics. The condensed styles provide an invaluable advantage when designing within narrow spaces. Span’s italics strike a balance between true italics and oblique letterforms to create a change in rhythm while preserving its chiselled style. A variety of additional features enhance Span's typographic capabilities including restrained swashes and flourishes are available in both roman and italic styles. Span also introduces an additional set of capitals for exceptional typographic control over uppercase settings. ‘Mid Caps’ sit midway between full-height capitals and lowercase letters and extend Span's title setting options to All Capitals, Capitals with Mid Caps and Capitals with Small Caps. Choose Span and take full control over your title settings and produce classic typography with statuesque poise. Overview: 30 styles comprised of 5 weights, 3 widths and accompanying italics Additional features include alternate characters, swashes, Small Caps and Mid Caps 987 glyphs per style See the Specimen Supported Languages: Albanian, Asturian, Basque, Breton, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, Filipino, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Malay, Maltese, Moldavian, Norwegian, Occitan, Polish, Portuguese, Romanian, Samoan, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof, Zulu

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

Introducing Zambeza, a modern display font that draws inspiration from vintage posters and combines it with elegant typography styles. With Zambeza, you can create unique letter combinations for lettering with a wide range of options. The font comes with open type features, including alternate glyphs and end swashes, providing you with creative freedom for your lettering designs. Zambeza is perfect for various design applications, such as logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media graphics, greeting cards, and more. Its versatile design makes it suitable for different creative projects, adding a touch of modernity and vintage charm. To access the alternate glyphs, you will need a software program that supports OpenType features, such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, or Corel Draw. This allows you to fully utilize the font's design possibilities and create unique compositions. Your zip package will include the Zambeza font files in otf, ttf, and woff formats, providing compatibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, giving you all the essential elements for your designs. Zambeza also supports multilanguage characters, making it suitable for designing in various languages. Whether you're creating designs in English, Spanish, French, or any other language, Zambeza has you covered. In summary, Zambeza is a modern display font that combines vintage inspiration with elegant typography styles. With its open type features, multilanguage support, and versatile design applications, Zambeza is a great choice for your creative projects. Thank you for choosing Zambeza from our collection. Happy designing!

Holy Dooley! It’s a new Ainslie! Based on the inspiration from Mt. Ainslie and the Ainslie suburb outside Canberra, the original Ainslie adds geometric simplicity with a hint of aboriginal flair to the project. And now the muses of Ainslie are back at work, lending their structure as the foundation of Ainslie Slab. Like its big brothers, the new Ainslie Slab puts together a great mix of influences from Oz for a great looking typeface with some ace new shoes. Slab’s spiffy new slab serifs complement the classic frame, making the result a ripper Aussie typeface that can be used in a great number of applications. Take a look at the trendy typeface’s alternates in action, too. You can access these in any OpenType-enabled application. Alternates, swashes and alternate titling caps allow you to customize your look and feel. Capital swash alternates, old style figures, and compact caps are included to add a bit more flexibility to your work as well. OpenType enabled applications can take complete benefit of your automatic replacing ligatures and alternates, and this font also presents the glyphs to help a wide array of languages. View all of these in the PDF brochure. And then try them out. Combine it with the original Ainslie and Ainslie Sans for more flexibility. Whether you need a good slab for the copy or you want a clean, upbeat look for your headline, Ainslie Slab offers you a unique touch of the Outback that’s anything but out of touch.

You may want your designs to look sharp, professional, and interesting without exaggerations, but how would you do it amid the abundance of font options available to choose? Rainbow Night is a perfect answer to your design needs. Rainbow Night is an elegant, prominent display serif font to attract everyone who sees it. A serif font is a font with hooks and tiny scratches attached to the letters’ edges. The huge serif size adjacent to each other in such a font makes the letters look heavier. Moreover, this font is deliberately created in thick lines and strong contrasts as the characters of a display font to produce strong visual displays. Generally, such a display serif font can show elegant, classy nuances to assign a strong identity to the brand, to stand the desired messages out, and to get the messages easily recognized by readers. You can apply this font for various text sizes due to its great legibility. In addition, you can make use of the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rainbow Night fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing the Big Dreams font. As the name implies, this font will give an extraordinary impression and an experience that will never be forgotten, if you use this font in your design. We designed this font with thorough attention to each letter so that it has the right portion if it is arranged in a word or title and if it is made into a sentence it will be easy to remember and pleasing to the eye. Not limited to that, the bold calligraphy font is designed to keep paying attention to the beauty of each letter, there are alternate options for the letters which are certainly easy for you to access, so you can automatically customize the letters you want to enhance the visual appearance of your design project. This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. ============================================================================================================ What’s Included : File font Web Fonts Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Albanian, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish Thank you for your purchase! Hope you enjoy our font!

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Merengue Script is the second typeface designed by Panco, once again together with Ale Paul, who supervised the whole development. In this opportunity, the process of shape research and the systematization of signs led him to dive into new waters. The objective was to generate a system of signs in which the construction of such was not directly bound to traditional calligraphy, nor to texts typography. Instead, the point was to create signs inspired in “Brush pen” calligraphy but with their main features drawn or literally illustrated. The result was a font with personality, authenticity and uncommon formal aspects that make Merengue Script an interesting, highly attractive and rather unusual font. From the very beginning, the search was based on creating a font with weight and good presence in big formats, but, at the same time, efficient for brief texts of small formats. The aim was to make it usable mainly in candy, sweets and chocolate packaging. The predominance of round shapes, harmonious modulations and funny and friendly-looking visual rhythms spark a special effect in the usage of Merengue Script. Texts are enhanced with an interesting visual charm, capable of transforming a very simple text into a virtual illustration that semantically reinforces the messages in a simple way, without putting legibility at risk. With a basic set of stylistic alternatives full of frills and flounces for initials, ornamental and final letters, plus a set of disconnected signs, Merengue Script offers a wide and versatile range of options for graphic designers in the process of packaging design.

Rather than confining itself to a single style, Ricardo combines the best of two worlds: the conceptual clarity of a geometric design with the legibility and warmth of a humanist design. Its open counters, crisp joints, and even texture allow for effective use in long-form text settings, while its simple geometric shapes combined with some unexpected details make it highly suitable for display settings such as branding and marketing. Ricardo contains seven carefully chosen weights, ranging from ExtraLight to ExtraBold. The Medium weight functions as a slightly darker alternative to the Regular. Ricardo’s 812 glyphs per style support over a hundred languages, and also include arrows and case-sensitive punctuation. The Ricardo family consists of three subfamilies: Ricardo, Ricardo ALT, and Ricardo ITA. Ricardo contains the most conventional forms, and is the most suitable option for long-form text. Ricardo ALT contains simplified shapes for the a, j, u, and t, which are also accessible through Stylistic Set 2 within Ricardo (in opentype-savvy applications). The cursive-like italics of Ricardo ITA provide a slightly more eccentric alternative to the standard italics. Furthermore, all styles contain stylistic alternates that swap the blunt apexes in A, M, N, V, W, v, w, y, and 1 for pointier ones. These are also accessible through Stylistic Set 1. Other opentype goodness includes: (discretionary) ligatures, smallcaps, case-sensitive forms, fractions, nine sets of numerals, and more. David Ricardo (1772-1823) is considered the first of the classical economists, and combined ground-breaking mathematical abstractions with an understandable down-to-earth way of explaining his ideas.

Introducing Popwave - a vibrant and playful font pack containing 5 unique fonts that are perfect for adding a touch of modern pop and groovy style to your designs. This versatile font pack includes a boxy font, a boxy rounded font, a script font, a narrow font, and a sans-serif font - providing you with a range of options to choose from. The boxy font has a bold and boxy design that exudes a sense of confidence and strength, while the boxy rounded font features rounded edges that give it a more friendly and approachable feel. The script font is elegant and fancy, perfect for adding a touch of sophistication to your designs. The narrow font is sleek and modern, with a slender design that creates a sense of space and clarity. Lastly, the sans-serif font is simple and clean, making it perfect for adding a modern touch to any design. Each font in the Popwave pack has been carefully designed to create a fun and vibrant style that's perfect for catching the eye. The fonts are playful and modern, with a touch of retro charm that makes them perfect for a variety of projects. The Popwave font pack also supports multiple languages, making it the perfect choice for designers who need to create designs for a global audience. So whether you're designing for print or digital media, the Popwave font pack is the perfect choice for creating modern, fun, and playful designs that are sure to stand out.

Like many of Jim Parkinson's alphabets, Pueblo began as poster lettering. It shows a range of influences: turn-of-the-century sign painting, old Speedball lettering books, and a touch of art nouveau. While developing Pueblo, Parkinson debated whether to make the ends of the serifs rounded or square. Rounded looked more like the work of a Speedball lettering pen, but squared stroke endings made the letters more legible at small sizes. The finished design sports serifs that are just slightly rounded. According to Parkinson, the design feature is “enough to be noticed at large sizes, while going virtually unnoticed at smaller point sizes,” adding to the versatility of this distinctive typeface.

Mesquite is a narrow Tuscan-style typeface designed at Adobe in 1990. Like older Tuscans from the 19th Century, Mesquite has elaborate, creative serif treatments-although the serifs are so unique that it is difficult to call them serifs anymore, they are more like pointy finials. A convex-concave-convex ornamental feature appears on the middle of each vertical and diagonal stroke. Together with the serifs" at the tops and bottoms of each stroke, this feature creates a "tri-band" pattern over text set in Mesquite. Mesquite is not a text face. Aside from its narrowness and decorative qualities, Mesquite has no lowercase. The font's uppercase glyphs have been directly copied and placed in the lowercase range."

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Bellmore is a beautiful serif font family with a classic feel to it. The elegant design is the result of combining modern and vintage elements. The different weights give you a lot of flexibility when it comes to choosing the right typographic color for your project. The available Ligatures and Italic styles offer a wide range of characters to give your project design an unique design. 5 Weights (Light, Regular, Semibold, Bold, Black) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü ... OTF file format Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Poster Paint is a fun shocard alphabet which came about from Jim Rimmer’s admiration of Goudy Stout, a design he liked in spite of the fact that Goudy himself claimed to detest it. Extremely eye-catching and humourous to a fault, Poster Paint is an ideal fit for fun environments like theme parks, concession stands, cofee and juice bars, and in print design for children books and fun food packaging. Poster Paint was updated and remastered for the latest technologies in 2012. It comes with a glyphset of over 375 characters, and supports the majority of Latin-based languges. 20% of this font’s revenues will be donated to a GDC scholarship fund, supporting higher typography education in Canada.

Casta is strong Modern contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Casta come with elegant style, strength and contrasts, with features an extended latin character set of 429 glyphs covering over 28 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Casta is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best luxury fashion.

Margon is a serif font family with a temperate design -- small serifs, moderate contrast, tiny roundings on the corners make it calm and serene. The Margon font family consists of 18 members divided into 4 groups of different proportions marked by indexes 360, 380, 400, 430. These values correspond to densities of sets -- 360 is the widest style, 430 is the most narrow one. The peculiarity of Margon family is a rather small difference in proportions of characters between neighbor groups, it’s less than 10%. Such tiny step gives possibility to select the font that gives the best result in combination of capacity and readability. Margon can be used in book, magazine and newspaper design.

TF Wander Cloud display typeface fonts – unique and innovative designs that are sure to make your project stand out! Each letter in this font is square, with elegant cuts that give the letters shape. This font is perfect for anyone looking to add a touch of modern elegance to their designs. Our typeface display fonts are designed with precision and attention to detail, ensuring that each letter is perfectly balanced and easy to read. The square shape of each letter gives the font a modern and minimalist feel, while the cuts add an extra layer of sophistication and elegance Features: Uppercase, Lowercase, Numeral, Punctuation & Multilingual. For any questions please contact me 🙂 Thanks!

Sardines is a project by Jacques Le Bailly aka Baron von Fonthausen. It first saw the light as a student project for a monospaced font and eventually grew into Vette Letters’ largest font family. We saw its potential and expect it to be a million seller, just like our other typefaces. VLNL Sardines comes in 42 different variations, like rough and clean cuts, regular and condensed widths (condensed is the exactly half of the regular width). Sardines is an eclectic mash of classic curves and mathematical measurements, leaving a very distinct typographic flavor. While most of our type is market-fresh, this one comes out of the can, but it’s delicious nonetheless. And it’s great for adventurous BBQ-ing!

Brolly Fight is a fun, slim line font with off-kilter lines. I had so much fun creating this one! It has a stick figure art deco feel. It's fun and playful, with lots of ligatures and alternates to play with. Mix and match lowercase and uppercase letters for a unique look. There are four alternate ampersands, and fun double letter ligatures, as well as playful ligatures for r, k + a, e, o, u combinations. That high lowercase o with an underscore has a twin lowercase a alternate you can access too! Mix and match capitals and lowercase (plus the ligatures & alternates) to create unique text designs. Now with a bold version!

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Quat is a sans serif type family designed by Ani Dimitrova. The family comes in 22 weights, ranging from Hairline to Black with extra drawn italics and small caps versions, and each style contains more than 700 glyphs. The Regular and Medium weights are perfect for body text while the extra drawn Italic gives an interesting texture to the text. The lightest weights work well in subtle headlines while the heaviest ones are perfect for posters, short texts, web, branding and screen design. All weights contain ligatures, proportional figures, tabular figures, old style figure, numerals and arrows, matching currency symbols and fraction. The range of styles give a good flexibility to this family.