Welcome to the world of Luckywish Sans-Serif Handmade Font, a special offering born from hands full of creativity and love. Combining the art of handwriting with the simplicity of a sans-serif, Luckywish font offers a magical script that fulfills all your wishes. Luckywish is a symbol of hope that shines through every stroke found in each character. Crafted with heartfelt dedication, this font showcases the natural beauty of handwriting, bringing warmth and joy to every design composition. Armed with a pen and imagination, Luckywish exudes a unique charm. Its relaxed and delicately intertwined style brings a friendly and inviting ambiance to every formed sentence. When used, this font will infuse happiness and a fresh spirit into every project you undertake. Luckywish is more than just a font; it's a loyal partner to designers, writers, and creators alike. With its sans-serif characteristics, this font is easy to use and suitable for a variety of creative projects, from logo designs to posters, from wedding invitations to company branding. In the palm of your hand, Luckywish offers a perfect balance between boldness and delightful gentleness. Each character is meticulously crafted to provide unparalleled harmony in every usage. It's time to let your hopes and imagination flourish with Luckywish. Let this font bring joy and inspiration into your design world. Get ready to witness your words and messages transform into mesmerizing works of art that capture hearts. Be part of this magical journey with Luckywish. Get the font now and enjoy limitless creativity with an unmatched personal touch.

MyCRFT was designed as a custom heading typeface for Drew Maughan's IhNohMinecraft project. ABOUT THE PROJECT Beginning life in 2015 under the name Mascoteers, the project was an ensemble of small-scale characters built from LEGO elements. The challenge was in creating the different figures with the restrictions of existing LEGO elements, while being recognisable as individual characters. The project was initially well received within the LEGO community and with the general public, but was eventually ignored and even ridiculed in favour of LEGO's own BrickHeadz theme, launched in late 2016. It was rebranded IhNohMinecraft as a response to the deliberate cries of "Ih dih Minecraft?" since BrickHeadz' launch. The project has no relation to the popular game. ABOUT THE TYPEFACE The motivation to create MyCRFT was as part of establishing IhNohMinecraft as its own project, by giving it a new visual identity. The typeface could be described as a cross between the ones used for Gears Of War and Overwatch. I liked the boldness of the former, and the italicized straight edges of the latter. MyCRFT was intended to be used in its Black Italic form from the beginning, and was designed around the letters from the word MINECRAFT. Where I couldn't decide on specific characters, I've included the designs as alternative glyphs. I've also included the old "square" Mascoteers logo and the newer "head" IhNohMinecraft logo. MyCRFT is paired with Kanit on the official IhNohMinecraft web site. Let me know if you discover a better pairing! PROJECT LINKS View the IhNohMinecraft "reveal" playlist on YouTube. The official Mascoteers/IhNohMinecraft web site.

Lomo, PLC is a Russian optical manufacturer, whose cameras have built up an international cult following since 1992. Swiss designer Fidel Peugeot recently tapped into this phenomenon, creating an astounding series of pixel fonts for use in a variety of applications-from websites to mobile phone displays. Now available as a single family from Linotype, Lomo's versatility extends itself across 37 various faces. Whether on screen or online, Lomo's different weights deliver great legibility at low resolutions. Additionally, the amazing breadth of this family allows these pixilated faces to crossover into print, bringing a contemporary technology feeling to your more traditional pieces, too. Worth experimenting with is the Lomo Wall series, of which 14 of the Lomo family's 37 fonts belong to. In graphics applications like Adobe's PhotoShop of Illustrator, the Lomo Wall fonts may be layered over top of one another in various combinations. For example, Lomo Wall Chart 50 could be colored red, and layered behind Lomo Wall Pixel 50. The text in Lomo Wall Pixel 50 would then looked like it had been painted over top of a brick wall. With 14 fonts, and millions of colors in your application's color palette to choose from, the combination possibilities for this layering technique are endless! (If you really like this layering feature, check out what Karin Huschka, another Linotype designer, did with her Chineze Dragon family.) Convinced? Give the unlimited possibilities of Lomo a spin today! The entire Lomo family is part of the Take Type 5 collection, from Linotype."

With Encercle Draft, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Draft is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Draft uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Draft will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not Powerpoint), Sibelius and more. Encercle Draft includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thicker, sans-serif style, check out Encercle Sans. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

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

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

It can be a tough challenge to find a visually best font for your project as an inappropriate font may ruin the project and make it seem unprofessional and careless. Therefore, Stay Love, through which your project will be outstanding, is here for your perfect font to show lovely nuances and displays leaving the best impressions to your project. Stay Love designs are beautifully crafted to look as similar as the artistic humans’ handwritings for unique, interesting displays. The letters, which connect to each other to create continuity and consistency, have high contrasts to show clear differences between the thick and the thin parts of the letters for stronger and more legible writings. Moreover, the swinging letter ends can add feminine touches and elegant beauty to your designs, which you can use in big text sizes for a legibility reason. In addition, you may indeed enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Stay Love fits best for any design projects requiring artistic, elegant displays such as wedding invitations, greeting cards, merchandise designs, and more. For such artistic and elegant displays, this script font is also applicable for logo designs, posters, and packaging. 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.

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

With Encercle Sans, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Sans is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Sans uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Sans will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not PowerPoint), Sibelius and more. Encercle Sans includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thinner, classic architecture/drafting style, check out Encercle Draft. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

Transport New is a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Version 3.0 of Transport New features significant improvements including numerous outline and spacing refinements, and a full complement of Latin Extended-A characters. Also, to align Transport New with the 2015 release of Motorway, the other typeface used for UK road signage, Italic fonts for all three weights have been added. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957 and first published on the Preston bypass in 1958, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy. The Grotesk roots of the glyphs were investigated and cheekily fine-tuned – uncomfortably close terminals of characters such as 5, 6, C, G, and e were shortened, the S and s were given a more upright aspect and their protruding lower terminals tucked in, overly wide glyphs like the number 4 were narrowed, and some claustrophobic counters were slightly opened up. The question mark was redesigned and parentheses given some stroke contrast. The x height was edged fractionally even taller. The Heavy font is actually more of a Bold, and the Light is pretty much a regular weight, but the original nomenclature has been retained for old times’ sake.

The name Corpid derives from “Corporate Identity” — which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity. Although it was designed to fit strict technical requirements, Corpid has a personality all of its own. This was in part a result of what Luc(as) calls “creating tension” between the inner and outer curves of each character. “I tend to put a little more diagonal contrast into fonts than is the case in most neutral sans serif fonts. This brings a certain humanistic touch to the typeface. Much more subtle here than in Thesis – but although it is almost invisible, it is still palpable.” Corpid was gradually expanded into a five-weight, three-width family. The new Corpid SemiCondensed has double functionality. It is a no-frills, compact headline font that offers optimum legibility in sizes from small to huge. It is also a great space-saving text typeface for magazines, newsletters or annual reports: economic, versatile, and provided with several different numeral sets. In this OpenType type version, all weights come with Small Caps. With its wealth of numeral styles and complete character sets (including Central European) the Corpid family is now well equipped to tackle the most complex of typographic tasks.

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

Aviano returns to lend its classic line to its newest variation, Aviano Royale--named so because of the rich flow the calligraphic capitals give the established font. The extended lowercase characters give an air of formality to the face as well and bestow on the family a deeper sense of wealth and power. This recent development of a timeless font, part of insigne’s annual tradition of adding to the Aviano family, was elected the clear winner in a poll of insigne design’s social media followers. And is it any wonder why? The long-handed elegance of Royale features graceful script capitals as well as widely tracked and smaller titling capitals, all which make Royale ideal in high-end applications and branding where titling with a taste of gentility is required. Royale’s suite boasts a number of OpenType alternates, most importantly of which are the alternate forms for the capitals. Whereas the default forms of the face are regal, it’s flourishes must be activated through the swash set. For a look more restrained, activate the stylistic alternates. It’s like having three different fonts in one! Additionally, there are baseline lowercase forms. The lowercase forms are 20% smaller in height than Aviano’s lowercase forms, so the families are not interchangeable. However, they can still be used well together. The script capitals could also be used separately as drop capitals and nicely complement any of the other 12 Aviano families. It’s time to look beyond common. For the look of refinement you desire, design with Aviano Royale.

Bex Script is a riff on traditional French script forms: the Bâtarde, the Ronde, and the Coulée. It has two versions: First, there’s La Belle, a straightforward, lovely interpretation of the script form, suitable for things like invitations, poetry and branding. La Belle’s evil twin is La Bête, a more whimsical (and considerably more hairy) version, great for anything that requires an elegant-but-beastly feel. Bex is surprisingly versatile! With three optional capital forms (Swash, Caps, and Small Caps) all taller than the x-height, Bex has a variety of voices. A full small cap set and a full set of Swash Caps, plus a large complement of alternates, initial forms, terminal forms, and ligatures makes it customizable and… well, FANCY! Additionally, both versions of Bex Script have a set of ten ornament glyphs. La Belle has a combination of fleurons on a culinary theme and symbols of France. La Bête has ten pseudoheraldic beasts that would feel at home at the top center of any whimsical letterhead. NOTE: A few years ago in Paris, I was lucky enough to stop at the Librairie Paul Jammes in St Germain-des-Prés, where I bought a turn-of-the-19th-century signature from a Type Specimen of the printer Joseph Gaspard Gillé. The irregularity of his script types — particularly the ones at smaller sizes, like the Cicéro — was very intriguing. They seemed to blend the Ronde with some elements of the Bâtarde and Coulée. And they, along with the work of French master penman Louis Rossignol, gave Bex Script its initial form.

Are you tired of weak, flimsy fonts that can’t handle the heat? Look no further than Gunplay—the tenacious stencil typeface that will make your message stand out from the pack. Inspired by the iconic 1972 film The Getaway, Gunplay exudes a gritty, rugged aesthetic that demands attention. With three different special effect styles, this font brings a bold and authoritative voice to your designs. Whether you’re looking to make a statement with a bold headline or add a touch of grit to your body text, Gunplay has got you covered. With its rugged design, this typeface can handle anything you throw its way. So if you’re ready to take your designs to the next level, give Gunplay a try. With its tough voice of authority, this font is sure to leave a lasting impression. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les Misérables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope. This description was sourced (in part) from Wikipedia, the free encyclopedia.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Slab is a modern slab serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Slab 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Slab" comes with 5 weights and italics; "Trakya Slab Alt" also comes with 5 weights and matching italics, giving a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one touch, easy to access in all graphic programs. Trakya Slab is the perfect font for web use. Enjoy using it.

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

This typeface has been beloved throughout history. Bodoni used it to print his first masterwork, but it has never before been publicly available. Now available for the first time, CAL Bodoni Casale has been painstakingly crafted from hi-res scans of 4 original Bodoni printings. Unlike many Bodonis drawn from computerized straight lines, this Bodoni follows the original contours of the master himself. With small caps, old style numbers, special options for $, %, £, €, Bodoni Casale allows you to make elegant pricing, sales signs, or logos. Besides it's authentic origins, Casale's 21st century debut includes Features & Alternates never seen before, including Frankenfont (giving the font 6 fun alternative uses with 1 click!). Other alternates, such as the $ and €, give the user options when styling their work. Various word and letter spacing options are also automatically included so the user can choose to preserve Bodoni's original spacings or go with a more modern look. The Bodoni for White on Black Most Bodoni fonts will start to disappear on black. Bodoni Casale’s robust strokes don’t disappear, even when set to smaller sizes. The robust strokes of this Bodoni font also lend visibility and legibility at large sizes with dark background, such as on signage. What You Get ✓Bodoni's original font, Roman + Italic and small caps ✓Style Sets for quick and beautiful formatting ✓5 Unicase Options ✓An army of percentage signs, dollar signs, and money symbols. ✓Punctuation Options for any reading situation ✓A Realistic and Inky look ✓Designed by Bodoni Himself For a Full Tour of Bodoni Casale, here's a video!

I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

Duddy is a “friendly” sans-serif typography designed by Eleonora Lana and the Letritas team. The shape of Duddy was created based on sketches that looked after carrying the concept of kindness as far as possible, keeping always in mind the readability and functionality of the font. In the stage of brainstorming, the team started listing things that were friendly to the touch or sight, such as a candy gum, or marshmallow, to become acquainted with the intended goal. Although slowly, as the letters were being created, the objects associated with the forms were not satisfactory, since when forming words a special personality of its own appeared. By reconceptualizing everything, the personality of the letter the team wanted to work with had to be redefined. Thus it went from "caramel" to "teddy bear", from "teddy bear" to "puppy" and from "puppy" to "dolphin". And Duddy is the perfect name for a dolphin. Duddy was a sound idea: friendly, intelligent, social. Once the concept was nailed, the design of graceful and “soft” shapes started. Almost chewable, almost huggable, as if composing words was a game. Duddy has a slanted version with "real italics". These italics are slightly more condensed than the regular version, in order to give it a different text texture. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 729 characters with ligatures, alternates, small caps, oldstyle and tabular numbers, fractions, case sensitive, and unicase figures. It supports 219 Latin-based languages, spanning through 212 different countries. Duddy supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.