Aesthetic Bingo is the Unique Serif display typeface with combine uppercase and lowercase looks and feel nice balanced. Provide with alternates and ligatures font in variant style make the design letter looks nice. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Recommended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window >> Character and then please click fi symbol In Adobe Illustrator choose tool Window >> Type >> Open Type and then please click fi symbol How to access Alternates Character? Open glyphs panel : In Adobe Photoshop choose tool Window glyphs In Adobe Illustrator choose tool Type glyphs If you have questions, just send me a message and I’m glad to help. Have a great day, Absonstype

About the Product Introducing "Wastern" - A brand new bold display typeface with both modern and vintage curves. Modern or Vintage. If you are going Vintage Retro : Access your OpenType features to access the large selection of alternate letters and ligatures, select the letters you like from the large variety to get the vintage look you are after. Vary between a light and heavy vintage look based on how many letters you alter. Due to alternates , Wastern is a very versatile font, covering a wide range project types, from bold magazine imagery , to wedding invitations, to branding, poster design and so much more. What's you get? Wastern Italic Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. Language Support : Danish, English, Finnish, French, German, Italian, Luxembourgish, Norwegian Portuguese, Spanish, Swedish, Swiss German. Let me know if you any question:) Have a wonderful Day Say Studio

When Hal Taylor saw the 1930 logo for the Stetson Shoe Company of Weymouth, Massachusetts, he didn't run out and buy a pair of loafers. Instead, he seized on this striking example of an Art Deco logotype as the basis for a new typeface design. “I was impressed with the delicate and sophisticated letter forms,” Taylor recalls, “particularly the enlarged cap S -- in any other case it would have seemed unbalanced, but in the context of this logo, it worked perfectly.” All the letters in the original all-caps Stetson Shoe logo were rendered with condensed proportions except the O, which was a perfect circle. While the prominent O added visual interest to the logo, Taylor knew that such a character would limit his typeface to display applications. For versatility's sake, he drew his O for ITC Stepp with the same proportions as the rest of the alphabet. Taylor also gave the logotype's inverted S a more traditional design, but kept the original as an alternate character in the OpenType font. Taylor's toughest challenge during the design process was creating a lowercase. “A good type design tells you what it wants to be,” he says, “and after a little while the Stepp caps began to tell me what the lowercase should look like.” Taylor's lowercase is slightly more conventional than the caps. The jaunty g" and almost upside-down "s" add subtle charm, while the capital letters provide the broader gestures of Stepp's personality. Together, they create a versatile and distinctive typeface design. One of Hal Taylor's first jobs was as a photo-lettering typographer in Philadelphia, setting headlines and creating custom lettering. This was followed by a stint doing finished lettering for John Langdon, whose ambigrams appear in Dan Brown's best-selling novel, Angels & Demons. Today, Taylor works as a graphic designer in the publishing industry, but he still finds time to create an occasional hand-lettered book jacket, and draw handsome typeface designs. ITC Stepp is available in four weights, ranging from Light to Ultra Bold. All four weights have companion italics, and the lightest three weights also offer a suite of small caps."

Introducing Bleck Stome Is a Layered fonts of retro style, with Bleck Stome Give your typography design a touch of retro style, Bleck Stome is one of hand lettering project. It was very inspired from the famous retro typography designs, Bleck Stome also comes with extra Extruded Font version. So you don’t need extra effort for create an extrude effect for this font. This mean it will saves your time. With Bleck Stome Font it suitable for Logotype, posters, business cards, merchandise, wedding invitations, greeting cards, banners blogs, clothing, water-based paint designs / prints, correspondence, quotes and more! . Bleck Stome Comes With 480+ Glyphs and OpenType Features are also added to this font. The Features includes: Stylistic Alternates, Swashes, Ligatures, and Stylistic Set. You can pick the alternate for all style Bleck Stome has given PUA encoded (fonts with special code). If you have any questions,please contact me at: malindocreative@gmail.com. Feel free to contact me, I am happy to help you. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as, Adobe Indesign ,Adobe Illustrator CS & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access alternate glyphs? you can see it on this link goo.gl/1vy2fv Thank you for your kindness and support,it’s not hidden,what you see in preview is what it contains, Hopefully Useful, Good Luck For You, And Love You All.

Looking for a way to add a touch of bold, retro charm to your designs that evoke the fun and creativity of the 70s, 80s, and 90s? Look no further than our collection of classic and modern fonts that are perfect for logos, posters, and all kinds of design projects, whether you're going for an old-school vibe or a fresh new twist on retro design. With our carefully curated selection of fonts, you'll have everything you need to create eye-catching and memorable designs that capture the essence of classic design from the past. Whether you're looking to add some vintage flair to a modern design, or you want to create a throwback look that's right at home in the 90s, our fonts are the perfect tool for the job. From bold, geometric designs that harken back to the 80s, to playful, colorful fonts that embody the fun-loving spirit of the 70s, our collection has something for everyone. And with our easy-to-use design tools and resources, you'll have everything you need to bring your creative vision to life in no time. So why wait? Start exploring our collection of classic and modern fonts today, and discover how easy it can be to create stunning logos, posters, and designs that are truly one-of-a-kind. Whether you're a seasoned designer or just starting out, our fonts are the perfect way to add a touch of old-school charm to any project.

Plener is a type family of layered fonts available in four weights: Light, Regular, Bold, and Heavy. The properties of layered fonts are matched with the classical type family structure, which makes Plener specific. The letters have humanist origins, interpreted expressively with short brush strokes separated in layers. These humanist forms keep the text set in Plein Air surprisingly legible. Layer structure allows the user to play with colors and transparency, giving the text a more personal feel. Plener comes in two additional styles, made of layers from the Light and Heavy weight. These new, display styles, named Plener LLH and Plener LHH are separated from the main family. To make the work easier, we created basic fonts out of merged layers (for every weight and style). We recommend users to set the text using these basic fonts first, then apply an opacity value lower than 100%. When satisfied, copy the text on multiple layers, changing the font to Layer A, B, and C. Apply a unique color to the text on each layer or use the same color but different opacity value. Plener fonts have the following features: ligatures, oldstyle figures, proportional and tabular lining figures, fractions, etc. Besides, there are fifteen dingbats set as discretionary ligatures. Contains Latin and Cyrillic. For some extra tips on how to work with the Plener family, see the pdf file attached to the gallery.

Andinistas.net presents Makeup Script. Expressive hand-made typography to design sentences with high textured impact; has 4 creative tools. Our priorities are continually updated and we prefer to use the elevator since taking the stairs is a very long process. If you see a long text, you close it and look for something shorter. For quick calligraphy you need to consume hours and hours of learning, discomfort and effort. Think of calligraphic words or phrases to write about a photo no matter how expressive it may be. Try to write quickly with signature style for logos, labels or packaging for clothes, suitcases, shops, malls, department stores, etc. Do you want to be able to calligraphy well? STUDY. Do you want to be a calligrapher? PRACTICE. Want to produce good ideas? PUSH YOURSELF. If you practice for hours every day, those hours will turn into years, but for many, to think in years of study and practice is too long, since most want everything instantaneous and few want to cultivate skills related to calligraphic patience. Makeup was born in the midst of this type of reflections about countless themes about art, beauty and calligraphy. All the ideas that revolve around makeup parade through its insightful and solitary design, lover of instant and fast writing for graphic design related to food, household goods, fashion, etc. CFCG. teamwork by Carolina Suarez & Illustrations by Eder Salas. In that order of ideas Makeup offers the following tools: • Makeup Script (238 glyphs): It is a script with vibrant fleeting strokes that form capital letters, lowercase letters, numbers and character sets and extended punctuation for Central, Eastern and Western Europe. • Makeup Alternates (238 glyphs): Offers new script possibilities, different from uppercase, lowercase, numbers that work at the beginning or end of words, in a way that your design will look more real and calligraphic. • Makeup Swashes (238 glyphs): These are tiny script letters that reinforce the idea of fast binding between handwritten letters that will fill your design or concepts with power and expressiveness through multiple textured contours. • Makeup Extras (80 glyphs): Here you'll find over 70 exciting, hand-crafted decorations that are ideal for underlining your ideas written in Makeup.

BORDEAUX - A custom handmade display typeface with unique design and hybrid lettering styles. This all caps typeface has two different nature: the uppercase is purely simple & minimal but the lowercase is defined by unique alternatives having special design. This typeface is perfectly suitable for anything that needs to stand out from crowd, be it some Ultra Modern Branding, Techno or Cosmic Themed Designs, Haunted Movie Posters, Mysterious Arts and even the Minimal Stuffs. BORDEAUX could be perfect choice for logo / logotype design, branding, marketing graphics, banners, posters, signage, corporate identities as well as for editorial design that can bring uniqueness. Please see the examples shown above to get an idea about the capability of this typeface. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets.

Olivera has Stylistic standard, Stylistic Initial, Stylistic Teminal and ligatures and includes uppercase and lowercase letters, numbers and punctuation marks. Multilingual Support OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. A total of 462 Glyphs: Ligatures: Ju Ct ff Cl all gh of ck tt ut nt ak ll pp il rt it ot st at rr om mm ar ss as or ox ow on tt ut ut Ct st at ot rt it Cl Swashes access: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 7 alternative sets access: a b c d e f g h i j k l m n o p q r s t u v w x y z

Anadolu was inspired by the distinct style of sign lettering in rural Turkey, and refined based on sign lettering in Hungary. Shown here are samples in Turkish and Hungarian, as well as Finnish and Estonian, two other languages in the Finno-Ugric language group with Hungarian. The slight curve at the tops of ascenders and bottoms of descenders is inspired by the linguistic process of "vowel harmony" in Turkish and Hungarian. Anadolu is the Turkish name for Anatolia, the peninsula where Turkey lies. The name recalls another sans-serif typeface named for its country of origin. The tittle on the i is reimagined as a diacritic, and the dotless ı is reimagined as the basic, prototypical i. Too many typefaces treat diacritics as afterthoughts. Since diacritics are integral to the languages that inspired Anadolu, they were designed as core components of the typeface.

“So-called Baskerville Old Face of the type foundry Stephenson Blake & Co. of Sheffield. The Script is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the ‘streamlined’ re-cuts of today’s Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (‘Signatures’ No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.” – Jan Tschichold, “Meisterbuch der Schrift”, Notes On The Plates, Page 231 Publisher note: I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters and old style numerals.

Monolog is an especially monolinear rounded display typeface, designed to work great alongside monoline illustrations, logos and icons, while still performing well in some text settings. A number of contemporary quirks in its construction establish visual interest, while Monolog’s clean, geometric forms allow it to remain extremely versatile, great for a wide range of applications and themes. Some good uses would include branding and identity work, signage, packaging, web and app design; anywhere from a hip coffee shop to a contemporary arts gallery, a music festival or a craft microbrewery. Stand-out features include double-stacked capital ligatures, abbreviation and catchwords ligatures, interesting capital forms, and alternates – including a stylistic set to swap the default circular forms for ovals to give Monolog a more condensed and pragmatic style. Big thanks to Ilya Ruderman, who kindly helped me to improve my cyrillic alphabet.

Phillip Kelly first drew the Croissant typeface in 1978 for Letraset. Back in the 1970s and 80s, Letraset's rubdown lettersheets were a popular means of designing with type. Today, many of these nostalgic classics are available in digital format. Linotype is pleased to re-present Croissant. This experimental typeface is built up out of round, brush-like strokes, creating heavy, and black letters. These forms are best used for display signage and headline text. If you are designing for a local bakery or donut shop, this typeface may be the perfect fit. The dark, heavy character that Croissant lends to the page is similar to Cooper Black , one of the most renowned American type designs ever produced. If you are looking for a typeface with Croissant's feel, but need to set smaller headlines or text, check out that family's offerings."

Blend is a hand drawn collection that takes its cues from the visual universe of bakeries and coffee shops. The name refers to the combining of different kinds of coffee beans to get a balanced taste, and Blend does just that, although here each typographic flavor can also be enjoyed separately. Projects such as branding, children’s books, wedding invitations and labels are sweetened with this cute family. The bouncing informal Script programmed with Open Type offers a wide range of features like ligatures, swashes, endings, initial forms and lots of alternates. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Keep the Standard Ligatures feature always active. For further information about features and alternates, see the User Guide Blend has extensive Western, Central and Eastern European language support. Make some coffee and enjoy!

Raniscript started out as an idea for a bold and strongly structured ronde style script with some contemporary touches. As I tinkered with various forms it took on a life of its own. Having an old world feel, it makes me visualize faded shop signs from India written in English. The name comes from a series of colorful vintage matchbook designs advertising the Flying Rani. You'll find Raniscript ideal for packaging, book titles, brochures or anything requiring a robust display treatment. It comes fully loaded for OpenType savvy applications. Three full sets of caps are included. By clicking the Titling button in Illustrator you can type using an all caps set that includes ligatures, case sensitive punctuation and language coverage. Other features include oldstyle figures, Central European language support, fractions, contextual letter substitution, swash characters, and ornaments.

Borne of geometry, found-type and a genuine love of texture, Blakstone has a lot to offer the letterpress style type genre. With 25 styles including hatches, halftones, grunge, linen, inline, shadow, fills, and outlines, Blakstone becomes useful as a layered type system. Combine styles to control colors on different layers to achieve your desired effect or just use a single style to keep it simple. Blakstone is full of open-type features including ligatures, discretionary ligatures, superscript numbers, subscript numbers, and automatic open-type fractions. Another great feature of Blakstone is its support for 130 International languages and dialects. Blakstone has many uses in the design world including signage, branding, invites and cards, clothing design, the music industry, restaurant and grocery signage, coffee shops, the list goes on. Blakstone has a texture for any occasion.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Marintas is a sleek upright italic that offers you a modern look and feel. This elegant sans serif comes across as lively, yet comfortable. Some semi slab characteristics of the font give it a face-forward momentum. These semi slabs, even with their geometric construction, are fluid shapes with a soft hint of brushstroke. The soft curves of Marintas paired with its playful but geometric semi slabs or ending strokes give the face its spirited--though friendly--eye-catching appearance. The Marintas family is comprised of 8 variants, ranging from Thin to Ultra. Its incredible versatility ranges from the delicate hairline to the extreme ultra weight. The heavier weights show some similarity to Antique Olive, and the face has an exuberant South American or Latin feel. This type of family is well-suited for advertising, retail, food and beverage products as well as for use in magazines, logotypes, and books. The fonts lend themselves to display settings, but are still very usable for longer copy. Because of its large x-height, the typeface is legible at very small sizes and as a webfont. Marintas has support for extended Latin character set. A wide range of Western languages are also supported, including Central, Eastern and Western European languages. In all, Marintas supports over 40 languages that use the extended Latin script, making Marintas a great choice for multi-lingual publications and packaging. All insigne fonts are fully loaded with OpenType features. Marintas is also equipped for complex professional typography and includes ligatures, alternate characters and fractions. The face includes a number of numeral sets, including old-style and lining figures with superiors and inferiors. OpenType-savvy applications such as Quark or the Adobe Creative Suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Check out the informative .pdf brochure to see these features in action.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other. The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'. Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

Combine, designed by Carlos Fabian Camargo G, is powerful and attractive, multi-layered chromatic type family that consists of 12 fonts, typographically grouped in two logics: “Script and Caps”, so that they could be colored separately or in group. Both designed with contrasting optical techniques and combinable at the same time. The unforgettable central idea of Combine was inspired by unique types of speedball letters designed by ancient artists in Canadian posters of shows and fairs in 1930. This is why its Typographical tools work independently or in group, resulting in highly polished designs that need fonts with coupled effusiveness. Their combined resources offer guaranteed distinguishing letters with shadow effects and worn, in order to help enhance their expressiveness. Combine is excellent in any project on paper or screen as it has more than 2100 glyphs and features of OpenType distributed strategically in fonts easy to use. SEE BELOW THE MAIN ADVANTAGES: • Combine Script & Shadow: It offers incredible case sensitive fluency and eloquence drawn with vertical cursive letters with ornamental non-stop excitement and complementation. It also has a variety of significant upward and downward, alternative strokes combined with its vintage ties that also give authenticity to their designs. • Combine Caps 1,2,3 & Shadow1,2: Guarantees you a colorful horizontal area of narrow case with 2 types of shadows, sound and other shade with diagonal stripes. Its geometric uniformity gives a friendly, open and subtle character by Typographic and special resources and visual properties coloring layers separately or in groups. In addition, its 2 layers of skeletal illuminations, adding internal lines and simultaneously contributing to play perfect confrontation and contrast with their geometric ideas and aesthetics for special attention. • Combine Words & Shadow: It can be used to design a perfect tone in each one of the 50 slogans written diagonally, making a brilliant feeling suggestive seductive style. Compatibility and flexibility works by monoline thin cursive strokes ideal for featured items with and without shade. Combine was selected at the Bienal Tipos Latinos 2016

The silent film »The Cabinet of Dr. Caligari« (1920) is undoubtedly one of the breathtaking milestones within the German Expressionist Movement, a time of extraordinarily creative works of art as a reaction to a world in rapid change. The original intertitles of Caligari were worked out by the set designers (and painters) Walter Reimann, Walter Röhrig, and Hermann Warm, using a unique expressionistic language of form for dramatic and iconic lettering. When in 2010 KOMA AMOK’s Joerg Ewald Meißner and Gerd Sebastian Jakob were commissioned by the Institut Mathildenhöhe Darmstadt and publisher Hatje Cantz to design the catalog for the exhibition »The Total Artwork in Expressionism«—showing works of art, architecture, film, literature, theater, and dance—it was soon perfectly clear that a new typeface, inspired by the Caligari intertitles, should speak for all the expressionistic arts. An intense process of research and analysis began. The original letters of the Caligari intertitles were individuals on their own. Furthermore, each of the three title designers had added his specific approach to the basic Caligari type style. From hundreds of different As to Zs a choice had to be made, which should be THE characteristic Caligari letter for a digital typesetting font. Finally the chosen letters were cut and drawn again, missing letters were added according to the formal priniciples, all-in-all 1000 glyphs were digitised to complete a usefull OpenType font ready for use. When in the autumn of 2010 the exhibition started successfully with great media interest, the posters all over Darmstadt announced »You must become Caligari!« – set in the brandnew typeface. The font Caligari Pro offers alternative forms for every letter and a whole bunch of ligatures, thus creating an expressive, individual image of headlines and text. By using included Stylistic Alternates the image will get even more vivid. Caligari comes with a complete set of expressionist ornaments and true old style figures—thus the heyday of the Expressionist Movement and the era of the silent films can be revived typographically by the means of today: »Express Yourself!«.

It's 1984 and everything has sideburns. Shoulder-padded "dress for success" is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie's "enemy within" and "no society" speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. "Yuppy," Yummy," "Bobo," "Dinky" and "Woopie" are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. Fast forward two dozen years. Replay, but bigger and much louder. Fab. Let's dance. Fab is Canada Type's tribute to the Eighties. It's a five-font unicase family that brings tube design into the 21st century. The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else. The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining. Fab comes in all popular formats and contains support for Western, Central and Eastern European languages, as well as Baltic, Esperanto, Maltese, Turkish and Celtic/Welsh languages.

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop. Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

Agatized Formal is a chunky stencil typeface with slightly condensed letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. It exudes authority without taking itself seriously, like a plump jolly uncle in charge of a brass band. Agatized Formal is a big, bold typeface with a charismatic presence that commands attention – in a friendly way, of course. But what really makes this typeface come alive is its arsenal of alternative characters and ligatures. There is a saying: Use sparingly. Whoa! Not here, no, no, no. Make your Glyphs palette earn its money. Flex your OpenType muscles: get stylized, contextualized, indulge in some ligaddiction. This typeface is a peacock that likes to put on a show, spread its plumage and strut around in all its blazing glory. Agatized, according to Wiktionary, means: A living thing converted into the form of agate; fossilized. I felt the name suited the solid, almost rock-like letterforms, but most of all I just wanted a typeface name that began with the letter A. Although Agatized Formal is a single-weight typeface it has a sibling, Agatized Informal, an older, more casual brother, rougher round the edges with craggy good looks and an altogether more jaunty style.

The problem with scripts in general, and brush scripts in particular, is that the majority of them cannot be set in all-caps words or sentences. So as a rule of thumb most designers try to avoid brush scripts when they know they will be entering an all-cap zone. But here comes Bruschetta, so you won’t need to reduce your design options. Bruschetta is a great flowing brush script that can be attractively used in upper-lower, lower-lower, or upper-upper settings. Bruschetta also has so much variety in its design features – original, funny, natural, friendly, legible, and even somewhat psychedelic – it just may be the most versatile brush script ever made. Bruschetta also has an historical value as the revival of the Helmut Matheis’ Contact design from 1963. Why it hasn’t been digitized until this point is beyond us! So we digitized it from original specimen, expanded the character set to completion, and even added a few built-in alternates. Bruschetta’s versatility allows it to be used in a variety of applications. It is great for signage, posters, product labels, menus, book covers, and pretty much anywhere where a friendly bold brush type is needed. Get yourself a copy and show your friends and clients why the overused Choc and Cooper aren’t the last word in cool!

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

More than a century ago, Frank H. Atkinson presented this hand lettered style as Broken Poster. It was one of a hundred styles he demonstrated in his manual on sign painting. Even before his book was published (and certainly after), Broken Poster was a favorite with sign painters and letterers. It has graced show cards and movie posters, signs and windows displays, and advertisements of all varieties. We presented the our first digital revival of this classic in 2000. It is long overdue for an upgrade. Broken Gothic expands the basic Broken Poster to four weights, two specialty formats and some cool layed effects. The language base includes Greek, Cyrillic, Latin A, and some of Latin B and Latin Extended. There are also some nice alternates and ligatures. All weights are quite suited to posters, headlines, display copy, web headers, etc. At first glance, Broken Gothic may seem to have limited uses. Give it a chance and it will surprise you. Broken shouts out that there is a sale, a giant monster or the end of the world. Broken Gothic is comfortable in a wide range of themes and applications from zombie movie titles to salsa jar labels. While I can't recommend it for text, Broken is great for headers, banners, signs, titles, product presentation and other display applications. When you need a rough customer, Broken Gothic fills the bill.

Avaline is a super smart script font that was 100% handmade. Inspired by hand lettering doodles, the font family combines a mischievous spirit and cheerful style. Its playful letterforms come in Light, Regular, Bold and Sketch, and it comes with tons of language support and fun alternatives. Packed with OpenType features, Avaline comes together to make a truly authentic hand script family package. Its imperfect hand-drawn style is utilized by contextual alternatives – giving each character 3 subtle variations as well as special styles that appear automatically based on where they appear in a line of text. Stylistic alternatives offer completely different styles for all capital and some lowercase letters. Swashes provide numerous flourish options for ascending & descending letters as well as characters that start or end text lines. Small caps and titling alternatives provide great secondary text options, converting the script letterforms to more proportional small cap ones. Avaline also comes with a massive set of extras, including catchwords, swashes & flourishes, arrows, borders, line breaks, laurels and frames. Together they make for a truly organic script font bundle. Avaline seriously comes with hundreds of alternative options, to see everything you can do with the family and to learn how to access them, please visit http://tinyurl.com/htwhetr

About Molhim: I first designed Molhim in 2016 as a personal project to digitalize my handwriting. Molhim 2016 was a static typeface, including two weights, and supported basic Arabic only. Since it was my first typeface to design, it had several issues regarding letterform design and aesthetics, good curve drawing, proportions, font programming, and correct OpenType features. So, in 2019 I started redesigning my handwriting font from the beginning to produce a neat Multi-lingual typeface suitable for diverse purposes. Arabic letterforms are redrawn with a focus on proportions and unity. Molhim Variable characteristics: Supports basic Arabic, and Arabic script-based languages, such as Persian and Urdu. Supports Basic and extended Latin characters. Includes 200+ ligatures and alternate styles for a natural flow of letters. Latin small letters have both separated and connected script forms. The variable font comes in two axes, Weight (wght) and Softness (SOFT): The Weight axis ranges from thin to bold, while Softness changes the stroke's cap from a round cap to a sharp projecting cap. Although I see the new Molhim Variable as a different typeface, I decided to keep the name 'Molhim' for the new typeface with the addition of 'Variable'. Molhim is an Arabic word that means 'inspiring'; this is how I hope people would perceive my handwriting.

I have made this font properly monospaced (all characters are the same width) as that is how an old typewriter worked. In addition to correcting and expanding the character set, of course. Keving King says: "Kingthings Trypewriter is a deconstructed typewriter face. I have always loved decayed fonts, this is the first of mine - and yes, I know there are lots of these around - this one is MINE". ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Eyadish is an entertaining, comic, and childish font. The name of this font is originally derived from two main syllables. The first one is "Eyad-" which refers to my first name and the second syllables is "-ish" which means characteristics of or relating to. Hence, "Eyadish" refers to the characteristics that "Eyad", the typographer, himself has and had during his childhood. I do like this font for its childish and comic shapes. I have decided to design this font trying to leave a humble and personal imprint regarding the magic and innocent world of all children. Frankly, it is my most favorable designed font. This font comes in two different weights with facilities for writing and publishing in different alphabets included in various Latin and Cyrillic texts and scripts. "Eyadish" is primarily designed to be fit with all prints of kids, children, and juveniles' products. It is major usage is in advertisements and publications. It is suitable for T-shirts, books' covers of children such as fairy tales and comic stories, advertisement light boards in malls, and titles in parental, childish, comic, and other related magazines. "Eyadish" also can be printed in many children's products such as garments, towels, shoes, socks, toys, pacifiers, diapers, exhibitions, festivals, books titles and contents, medicines' packages, kindergartens' signs, buses, comic and TV series, kids and children organizations and charities names, images, software, foods including milk cans, candies, chocolates, and other related products. The font is extremely and distinguishably attractive when it is used with various, and vivid colorful letters and words in posters, cards, and placards. "Eyadish" is specifically designed for commercial, educational, cultural, and social purposes related to infants, babies, kids, and children. The main characteristic of "Eyadish" Typeface is in its childish look that remains when anyone reads or types or even deals visually with its characters.

Andesia Script is soft and sweet calligraphy typeface, with characters dance along the baseline. It has a casual and elegant touch. Can be used for various purposes.such as logos, wedding invitation, heading, t-shirt, letterhead, signage, lable, news, posters, badges etc. OpenType features with stylistic alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you very much for looking and please tell me if you have questions. Designers: khaidir Publisher: Gatype

Every element in this typeface shouts tall and narrow, slender and provocative. With wispy delicate serifs attached to elevator-style vertical stems, Stratosphere’s only goal seems to be getting to the top in style. And no matter how you describe it - ultra thin or ultra condensed - this typeface is best for short headlines and titles. Use only in large display sizes and use sparingly. Stratosphere Light is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Neumatic compressed has a super compressed character set, increased cap height and tight kerning that combine to give you the ability to create large, beautiful and effective headlines and copy for your artwork. Neumatic Compressed packs punch when it comes to large copy lines and is perfect for posters, display copy, headlines in printed materials like magazines and books . The family comes in 8 weights from extra light to Black so it's versatile. Its extra light weight can give you some great height due to how narrow it is. Play around with the opentype Superscript with an underline or the Opentype stylistic sets which turns the default squared dots on i's, j's and punctuation to round dots.

A sheet music edition of an early 1900s song entitled "You Taught Me How to Love You, Now Teach Me to Forget" was hand lettered in a free-form Art Nouveau style that combined varying line widths and character shapes. This unrestricted style of lettering was popularly embraced and revived by the hippie counterculture of the mid-1960s through the mid-1970s through their rock concert posters, record album covers and tee shirt graphics. It is now available digitally as Nouveau Artiste JNL. As a side note, a 1940s reprint of the sheet music was done in a popular metal typeface, which was also redrawn digitally and available as Elite Resort JNL [in both regular and oblique versions].

Ministry Script was designed to be “A time capsule that marks both the American ad art of the 1920s, and the current new-millennium acrobatics of digital type.” First letters of Ministry comes from a how-to lettering book but immediately turned on a complex and modern new digital typeface design with thousand glyphs. Ministry’s OpenType features include contextual and stylistic alternates, swash characters, and a galaxy of ligatures. A single face with over 1,000 characters to explore. The OpenType palette provides access to four different variants of each letter. For more info about the use of Ministry, its background, ligatures, alternates, please read The Ministry Script Guide in the Gallery section.