The Brazzari Pro AOE is an unusual but fun geometric typestyle design. It is the historical revival and elaboration of the "Bizarre" typeface created by MacKellar, Smiths, & Jordan Co. in 1884. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Definitely a niché use typeface, however, it has some great appeal. The letterforms of Brazarri Pro AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs. WHAT'S INCLUDED: Enable the Stylistic Alternates feature for standardized letterforms without the extensions. Extensive language support. Invocation has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, and expand on their character sets to enable them to be used more widely than their limited originals. A lot of incredible historical typestyles created as wood or metal type with bare bones character sets have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Urban Graffiti Font Busky Introduction Meet Urban Graffiti Font Busky, a vibrant display font inspired by street art. This font captures the essence of graffiti culture. It’s perfect for adding a playful touch to your designs. Busky’s bold and lively appearance is sure to grab attention. Design and Style Busky features bubble letter forms, giving it a fun and bouncy feel. Each character is crafted to resemble graffiti bubbles. The font’s rounded edges convey a sense of movement and fluidity. This style is ideal for projects needing a touch of urban flair.

King Throne is a regal display font that exudes an air of grandeur and elegance. With its high contrast characters and distinctive swinging letter ends, this typeface commands attention and captivates the viewer with its majestic presence. The high contrast design of this font creates a striking visual impact. The stark difference between the thick and thin strokes adds a sense of drama and sophistication to each letter, making them stand out with a commanding presence. The font's weight distribution captures the eye and draws focus to the exquisite details of its letterforms. What sets King Throne apart is the captivating swinging ends of the letters. With a gentle curve and a flourish, these decorative elements add a touch of movement and grace to the font. The swinging letter ends contribute to the font's regal aesthetic, evoking images of royal script and elegant calligraphy. They elevate the font's overall appearance, transforming it into a true symbol of authority and power. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations King Throne fits in headlines, logos, attention-grabbing titles, product packaging, branding materials, editorial layouts and website headers. 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.

The raw emotional energy of German Expressionism is evident in this font, based on Judith Type, designed by C. H. Kleukens in 1923. This version takes its name from the Biblical character who lost his head to the original font’s namesake. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This font is a late work of the famous Berlin font artist Martin Wilke. Presented by Linotype AG in 1988, Wilke is a lively font with eccentric, playful forms. Wilke was influenced in part by the letters of the Irish handwriting in the Book of Kells, written in the late 8th century, while the pronounced contrast in strokes goes back to the styles of the 18th century. the font’s uniqueness is particularly emphasized when used in larger point sizes.

Looking to take your design game to the next level? Look no further than Auzhera Brush Font! Handmade from a real analog fude brush pen, this stunning handwritten font boasts a unique brushed texture that adds a natural, hand-written feel to any project. From bold headlines to understated designs, Auzhera Brush Font’s versatility is unmatched. Crafted with meticulous attention to detail, this font is perfect for creatives looking to add a touch of personality to their work.

For those of you who require a typeface with an attractive classic, retro, and vintage vibe, Ruihant Retro Condensed is the ideal option. This font was created with an original and striking look, making it ideal for all of your creative projects. Premium features like ligature, alternative, and multilingual support are included with the Ruihant, allowing you to customize the font’s design to suit your needs. This font’s straightforward and compact form will enable you to produce designs that are more well-structured and effective. Ruihant is the ideal option to boost your creative endeavors because of its distinctive style and flexibility to alter the font’s appearance. Purchase this font right away and benefit from its advantages to raise the caliber of your designs. 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

Meet the new font family! This font came to my mind while I was sitting in line at the dentist. There are often different magazines at the front desk to read and pass the time while waiting. One of those magazines turned out to be about fashion. When I opened it on a random page, I saw beautiful pictures. But you know what the first thing that catches my eye? The font! The font in which the headline or quote is written. After you read it, you look at everything else. And I wondered what my font would be in this case. I present to you my version of a font for fashion lettering. Good luck and love to you, friends!

Introducing Good Times, the techno-inspired typeface that will take your designs to the next level. With its wide, capsule-shaped design, Good Times is perfect for high-tech, sports, and scientific themes. The letterforms were inspired by the lettering used on Pontiac cars from 1989-1994 and is designed with straight lines, simple forms, and unconnected strokes. Whether you’re designing for a futuristic tech company or a cutting-edge sports brand, Good Times has you covered. The font comes in seven different weights, including oblique styles, so you can choose the perfect weight for your project. For a more edgy look, check out Good Times Bad Times, a rusty texture variant that adds a rugged feel to your designs. And with OpenType technology, you can automatically substitute common letter pairings with customized ones for a genuine chipped metal aesthetic. But that’s not all. If you’re looking for lowercase letters, be sure to check out Good Timing, the follow-up to Good Times. With its sleek, modern look, Good Timing is the perfect complement to Good Times, offering even more design possibilities. So whether you’re creating a high-tech ad campaign or a scientific presentation, Good Times is the font that will make your design stand out. With its distinctive capsule-shaped design and versatile weights, you can create designs that are both bold and sophisticated. So why wait? Try Good Times today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Snasm typeface is a versatile and futuristic typeface that incorporates modular letter shapes from the late twentieth century, with a focus on wide letterforms. This typeface draws inspiration from the instrumental typeface designs of Donald Handel, known for their clean lines and sharp angles. But that’s not all—Snasm also pays homage to the sleek, high-tech design strategy of the late 1970s through the early 1990s, as seen in logos for Pepsi and the Nintendo Super Famicom. The Snasm font is not just visually appealing, but it also includes a range of weights and meticulously constructed obliques, making it a valuable asset in any design project. With its stable, sparse caps and roomy lowercase, Snasm is perfect for conveying concepts of science, technology, and high-tech accuracy. This font keeps pace with the latest digital gadgetry and user interface trends, making it an excellent choice for designers who want to stay ahead of the curve. Using Snasm in your designs can add a futuristic and modern touch to any project, whether you’re creating a new website, designing a mobile app, or working on a digital marketing campaign. Overall, Snasm is a typeface that is as functional as it is aesthetically pleasing, making it a must-have for any designer looking to create high-tech designs that stand out from the crowd. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Linefeed, the retro-inspired monospaced typeface that transports you back to the 1960s and 1970s era of computer band printers. Drawing inspiration from the revolutionary technology of the time, Linefeed captures the essence of the clunky yet iconic machines that were responsible for producing some of the most important documents of the time. Imagine a row of hammers, one for each column, smacking the paper against the ribbon and raised characters embossed on a constantly revolving steel band. This is the heart of the Linefeed font, paying homage to the technology that paved the way for the digital age. Most band printers of the time were restricted to uppercase, digits, and a little punctuation to ensure maximum efficiency, but Linefeed brings this beloved typeface to life with added lowercase letters, extra punctuation, and accents. Linefeed was once one of the most widely used computer fonts during the 1960s and 1970s. It could be found on a plethora of documents, including driver’s licenses, magazine subscription labels, report cards, invoices, and auto dealership window stickers, among other things. In a world where sleek and modern designs dominate, Linefeed offers a refreshing throwback to the golden age of computing. Its technical design, inspired by the machines of yesteryear, is a testament to the ingenuity and creativity of early computer designers. With its monospaced layout and vintage charm, Linefeed is sure to bring a touch of nostalgia to any design project. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Developed over several years by the late Otl Aicher and first released in the late 1980s, the Rotis® typeface has become a timeless classic. ROTIS II SANS HISTORY Aicher was a renowned German designer and corporate image consultant. He created the four basic designs of Rotis – sans serif, semi sans, semi seif and serif – within an extended typeface family concept, wherein all designs share a common cap height, lowercase x-height, basic stem weight and general proportions. While each version is part of the large, integrated family, each was also designed to function on its own as a distinctive typestyle. The result is that all members of the Rotis family combine smoothly with each other. Aicher, however, did not design the Rotis family with the weights and proportions normal for more contemporary releases. Rotis Sans Serif, for example, was drawn with just six weights and only two italics. Starting in 2010, Robin Nicholas, senior designer for Monotype Imaging in the UK, and freelance designer Alice Savoie collaborated to bring Rotis Sans Serif up to current standards. The result is Rotis II Sans, a completely new addition to the Rotis family. “We devised our approach together,” recalls Savoie, “deciding which weights to start with, what kind of alterations to make to the original Rotis, etc. I went to work on the typefaces, regularly submitting proofs to Robin. We would then decide in tandem on the next steps to take.” Nicholas elaborates, “We revisited the range of weights and added matching italics so that the new additions to the family offer increased versatility. We optimized the outlines, corrected the weight of several letters and re-examined overall spacing and kerning. In addition to a new set of numerals, with a height similar to the capitals, we also drew case-sensitive punctuation.” ROTIS II SANS USAGE The new Rotis II Sans suite comprises 14 typefaces: seven weights, ranging from extra light to black, each with a companion italic. The designs are available as OpenType® Pro fonts, allowing for automatic insertion of ligatures and fractions. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Aicher’s original Rotis designs were widely used for branding and advertising. With the addition of Rotis II Sans, the family is again poised to become a powerful communicator.

Ahganirya is display font that boasts a modern, minimalist design, making it perfect for businesses looking for a clean and sophisticated look. The font's elegant curves and sharp edges make it a stunning choice for logos, business cards, and other design projects. Ahganirya font offers versatility and flexibility to designers looking to create a cohesive and professional brand identity. Whether you're working on a print or digital project, Ahganirya font's legibility and unique design will surely make your work stand out. Complete with - ligatures - alternates - regular - italic - icon - kerning - multilingual support

Ant Serif is a font that can be used for advertising, logo creation, webfonts and more. The font comes in two styles, Regular and Italic and has all the characters in the Latin Basic, Additional and Extended scripts. The font's design came from my love of Marvel's Ant-Man and the Wasp logo. The typeface used, which was custom, was of interest for me, so I decided to create it as a font. It's not a perfect font, but I have put work to make sure it looked as decent as possible. Hope you'll enjoy it!

Casual Face is a display variable font with a natural handwritten feeling. The font supports Latin and Cyrillic uppercase characters, numerals, and the main set of punctuation and symbols. The character of the font is based on the classic sign-painter casual script. The font’s option variability is upright and slanted letters up to 17 degrees. This enables the designer to define the gradient himself and be free to create designs suitable for advertising, packaging, and events. The font is perfect for headlines and personal products with casual characters and the mood conveyed is warm, and relaxed.

Burstwick is a sans-serif typeface inspired by modern workhorse typefaces and designed for everyday use. It has unique personality but doesn’t suffer in more practical situations, and is very flexible: there are six weights, ranging from thin to bold, and matching oblique italicis. Lifting elements from grotesque, geometric, and humanist styles, and putting legibility at the forefront, each weight is drawn with higher contrast and subtle asymmetrical features to enhance individuality and aid in readability, particularly at body sizes on websites. These features are intended as an alternative to rigid geometric lines, bringing a natural feeling to glyphs, resulting is a friendly, but professional choice for any organisation or designer. The foundation of the design is a large X-height, which further aids in differentiating lowercase characters from one another. This allows Burstwuck to feel open, airy, and really shine when used in single-family type hierachies, particulalry in headlines and larger text. Through its 630 glyphs, Burstwick supports many Latin languages, with thorough kerning for accented character combinations, making it an ideal choice for organisations considering multilingual users, and the perfect addition to any designer’s toolbox. In addition to accented characters, a large number of special characters and alternatives have been included to increase choice and flexibility. Among these are expand currency symbols, oldstyle figures, math operators, and symbols. Language support includes: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.Today Rotis ia also available with pan european caracter set.

Mid Century Sans (MCS) is composed of high-geometric shapes. László Moholy-Nagy —professor in the Bauhaus— said “Typography is a tool of communication. It has to be communication in its most intense form. The emphasis must be on absolute clarity since this distinguishes the character of our own writing from that of ancient pictographic forms.” As same as you can see in modern typefaces in the early twentieth century, MCS has very efficient, clear and minima letterforms. There are not any decorative parts in the skeleton of letters. At the same time, Mid Century Sans has one more feature. In the middle of the twentieth century, one big movement which was called Mid-century modern had occurred. The Mid-century modern movement in the U.S. was an American reflection of the International and Bauhaus movements and it was slightly more organic in form and less formal than the International Bauhaus-style. In other words, it was friendly and stylish. We added Mid-century-spices to the Bauhaus-modernism. The basic letter form is geometric yet it has very friendly strokes and human touch. Mid Century Sans consists of 8 weights and their matching Italics for a wide range of usages. Farther, Mid Century Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also MCS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase "a" has OpenType stylistic alternates for advanced typography.

Vala™ dances across printed pages and shines on screen. This is a high-energy design that blends the grace of an English Roundhand script with the gravitas of an extra bold Bodoni. There is even a bit of romance in the design. Vala speaks with a resonant voice – and knows few bounds. The typeface enhances print headlines, subheads, cover art and packaging. The design also brings its distinctive melding of verve and poise to banners, headings, navigational links and branding in web sites, blog posts, games and apps. Oscar Guerrero found inspiration for Vala in shop window lettering near his home in Bogotá, Colombia. “The capital A, R and V caught my attention and I photographed the window for future reference,” he explains. “Later I started to draw more letters inspired by the ones in the window.” Guerrero admits that he has always admired the work of Giambattista Bodoni and allowed his classic Didone designs to infuse Vala. Striking contrast in stroke weights, lively ball-terminals and a large x-height give Vala the grace and force of a Waikiki wave. Not satisfied with just a basic character set, Guerrero also took advantage of OpenType’s capabilities and drew a complete set of swash capitals, a bevy of fancy ligatures, and a suite of lowercase alternative designs. The result is that Vala easily emulates custom lettering in posters, headlines and logotypes. The “romantic” part of Vala? Guerrero dedicated the design to his girlfriend, Valentina, and named it after her.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.Today Rotis ia also available with pan european caracter set.

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface lacks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

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

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!

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface laks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding. The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

The Okojo Pro Complete family is a reworking of Wordshape’s immensely popular Okojo family of typefaces. It includes Okojo Pro, a semi-geometric sans serif, Okojo Slab Pro, a semi-geometric slab serif, Okojo Pro Display, a round-cornered sans serif variation, and Okojo Slab Pro Display, a round-cornered slab serif. The entire Okojo Pro family looks great at small or large sizes. The Okojo Pro family is designed for readability in long texts while simultaneously functioning as effective display type. Features of Okojo Pro Display: - all lowercase characters have an enlarged x-height, creating less optical dazzle than typefaces like Futura, Neutra or Avant Garde - more humanist numerals and punctuation for enhanced readability - complete Western, Central and Eastern European characters sets - radically improved spacing guaranteeing beautiful results in print and on screen for the Czech, English, Hungarian, Croatian, Esperanto, Maltese, Romanian, Turkish, Albanian, French, Portuguese, Spanish, Basque, Bulgarian, Finnish, Swedish, Norwegian languages The Okojo Pro Display family is influenced by the type designs of Paul Renner and Herb Lubalin, but smoothed over with more than a bit of Americana. Both work well on-screen as webfonts and in print as book type. Each is hinted with accuracy and kerned with precision.The lighter weights are slightly slimmer than the regular and bold weights to give the typeface more of a vertical feel, inviting readers' to rapidly read typeset text with a maximum of contrast and a minimum of optical distortion. Okojo: it’s a little bit country and a little bit rock’n’roll.

Built in 1930 - 1935 by Dutch architect Wolff Schoemaker, the Swarha Islamic Building was originally used as a lodging for the honoured guest country and the journalists for Asia-Africa Conference in 1955. This building has an important role as one of Bandung historical art deco heritage, with the art deco typefaces styles on it's singage in this building, giving it a more classic west and east taste. Wolff Schoemaker was trying to combine the elements between eastern and western culture in design. One of his works was the Swarha Islamic Building in a circular design with rounded and high dynamic angle. Unfortunately the Swarha Islamic Building has been abandoned and and less attentioned by the local people itself to preserve this historic building. So I'm trying to raise the value of the historical heritage by creating this typefaces. This typefaces was inspired by the Swarha Building characteristic itself with its solid construction and dynamic, by adding classic taste on each characters. Available in two styles, Neue and Rounded represents the classic architectural Swarha Islamic Building styles with tropical Bandung Art Deco taste. This typeface is highly usable as a display type for your designs, and will fit with movie titles, magazines, your classic shops logo and signage designs, or you can use this typefaces as your web pages headlines. The characters of this typefaces are only in uppercase style, but it built with small caps on the lowercase featured, and additional Opentype Features were loaded, some stylistic alternates, accessible catchwords in the discretionary ligatures, and standard ligatures.

Covenante is an antique font that contains futuristic elements that give it an unusual look. Sharp serifs and unusual shapes of ovals, create a solid character and make the font fresh. More language support, ligatures, and alternative characters will increase the font's usability. 450 glyphs, 282 languages of the Latin group, 7 alternative characters, 21 ligatures, a capital set and more than one day spent for kerning-create a great potential for this font. Text, covers, posters, prints, titles, interfaces, web, book covers, packaging, logos, and much more where you can apply this font. If you find an error in the font, kerning, or just want to add something or suggest something, then write to me: bunineugene@gmail.com

Collogue - Variable Font is a cutting-edge and versatile typeface that brings a new level of adaptability to display typography. Unlike traditional fonts with fixed styles, a variable font allows designers to manipulate various aspects of the typeface, such as weight, width, and slant, along a continuous spectrum. Here's a comprehensive explanation of the features and functions of the Display Variable Font: Key Features: -Adaptive Design Elements: The primary feature of the Display Variable Font is its adaptability. -Designers can seamlessly vary specific attributes of the font, including weight, width, slant, and more. -This flexibility empowers designers to fine-tune the typography to suit the visual aesthetics of their projects. -Single Font File, Multiple Styles: Display Variable Fonts consolidate multiple styles into a single font file. This eliminates the need for separate files for different styles, providing a streamlined and efficient solution for designers. -Smooth Transitions: Changes in the font attributes occur smoothly and continuously. Unlike traditional fonts that switch abruptly between styles, a Display Variable Font ensures a fluid transition, allowing for a more harmonious and visually pleasing typographic experience. -Precision Control: Designers have precise control over the variation axis, enabling them to adjust the font's appearance with granular precision. This level of control enhances the typographic customization possibilities and allows for fine-tuning based on specific design requirements. -Responsive Typography: Display Variable Fonts excel in responsive design. They adapt gracefully to various screen sizes and resolutions, ensuring optimal readability and aesthetics across different devices. Functions: -Dynamic Branding: For brands looking to establish a dynamic and adaptable visual identity, Display Variable Fonts offer the perfect solution. The font's ability to adjust seamlessly allows for a versatile and cohesive branding experience across diverse applications. -Editorial Freedom: In editorial design, Display Variable Fonts provide editorial teams with the freedom to experiment with typography. The font can be adjusted to suit different sections or emphasis points within publications, enhancing the overall visual appeal. -Web Design Innovation: Display Variable Fonts are at the forefront of innovation in web design. They enable designers to create dynamic and interactive typographic elements that respond to user interactions, contributing to a modern and engaging web experience. -Attention-Grabbing Displays: Whether used in signage, banners, or large-scale displays, Display Variable Fonts stand out with their adaptability. Designers can experiment with different styles within a single font to create attention-grabbing and visually dynamic displays. -Customizable Interfaces: In digital interfaces, Display Variable Fonts provide a customizable typographic experience. Designers can optimize text elements for different device sizes and orientations, ensuring a seamless and visually pleasing user interface. -Innovative Advertising: Display Variable Fonts offer a fresh approach to advertising typography. Brands and advertisers can leverage the font's adaptability to create visually striking and memorable campaigns across various media channels. In summary, Display Variable Fonts represent a groundbreaking evolution in typographic design, providing designers with unprecedented flexibility and control

Brotherline is a connected script built from a single bold mono-line, inspired by hand-lettering style and various calligraphy letterforms.The first idea with this font is to create a font for Logotypes. Curves are smooth and flow with very nice circle shapes. This font is great for logos, logotypes, packaging, and store-front or signboard. NOTE: To access the alternate glyphs, you will need a program that supports OpenType Features. Activate the Ligature (liga) and Contextual Alternates (calt) for better experience.

Devil Inside is a spine-chilling display font that will send shivers down your spine. Designed in a large, bold font, this typeface demands attention and exudes an aura of darkness. Each letter is meticulously crafted with a square shape, high contrast, and haunting brush details, adding an eerie and sinister touch to the font. The large size of the letters enhances the font's ominous presence, making it impossible to ignore. The square shape of each letter adds a sense of rigidity and sharpness, while the high contrast brings an element of drama and intensity. These design choices contribute to the font's unsettling and sinister look, immersing the viewer into a world of darkness and fear. The brush details in Devil Inside give the font an organic and handcrafted appearance, as if it were inscribed with ancient symbols by a malevolent force. These haunting details add a sense of craftsmanship and enigma, creating an atmosphere of mystery and foreboding. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Devil Inside fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. 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.

Hello Freeday is a striking display font that combines a bold and clean font weight with playful swinging endings. With its uniform letter proportions and unique character details, this typeface effortlessly balances sophistication and a touch of whimsy. The bold and clean font weight of this font commands attention and adds a sense of strength and impact to your designs. Each letter is meticulously designed with precise geometric forms, resulting in a polished and professional appearance. The consistent proportions of the letters contribute to the font's overall coherence, ensuring a harmonious and balanced visual experience. What sets this display apart is the charming swinging endings found in select letters. These decorative details add a hint of playfulness and movement to the font, injecting a touch of personality and delight into your designs. The swinging endings give the letters a sense of rhythm and flow, making Hello Freeday an excellent choice for projects that require a dynamic and captivating visual presence. The font's bold and clean aesthetic ensures legibility and readability, even at smaller sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Hello Freeday fits in headlines, logos, attention-grabbing titles, product packaging, greeting cards, branding materials, editorial layouts and website headers. 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.

Isonorm was created in 1980 by the International Standards Organization (ISO). The font's design is simple, clean, and geometric, with strokes that all have rounded ends. Isonorm is a font whose forms are very legible by both the human eye and machine readers. The font is also a good choice for drafting and architectural purposes, as well as for technical charts and graphics.

Volume is a 3D font, with interlocked characters, inspired by vintage wooden block capitals! Superimposed weights bring light and shadow on the structure and allows many coloured combinations. Cubo est une fonte en volume dont les lettres s'imbriquent, inspirée d'anciens caractère d'imprimerie en bois. Les diiférentes graisses se superposent, créant des effets d'ombre et de lumière, et facilitant la colorisation des caractères.