ITC Grapefruit is the work of Hungarian designer Gyori Attila, an angular, mannered and geometric display face with a loud appearance. ITC Grapefruit combines strong display characteristics with legibility and is suitable for a wide variety of uses.

Autobahn is a robust masculine sans of near monoline thickness and angular characteristics. Available in four weights (with italics), it has a healthy compliment of OpenType Features and the character set covers most Roman-based letterforms and Cyrillic.

Grundee is a grungy serifed face. It is sloppy and irregular but still quite legible. It was one of several efforts to draw a serifed typeface by pen; see also SarahfSlob, which contains a complete family of styles.

A practical font family - Geometric forms make this elegant font family a great companion for invitations and signs, indoor and outdoor.

Metzada is a vivid choice when you want to effortlessly make your designs stand out with a remarkable sharp crafted typography.

Geometric forms with subtle curves make this elegant font family a great companion for titles, invitations and signs, indoor and outdoor.

Cocoro is a rounded textured font. Cocoro is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

This downloadable font has fun written all over it. Its versatile style makes it useful for all sorts of whimsical themes.

BooRush is a display font with a childish touch. The bold shape makes this font very suitable for any playful heading!

Technomat takes inspiration from matrix or thermal dot printers. Minimalistic construction and soft edges makes it legible from 3 point size.

Hazilim is a vivid choice when you want to effortlessly make your designs stand out with a remarkable wild crafted handwriting.

Hi! Introducing a simple minimalistic font named "One Thin Line". Because almost all letters and characters are made of one line.

Story font is an experiment to convert the script-style calligraphy into bitmap format. Made alongside Tale fonts, with different design.

Some typefaces need time to ripen; Burian and Scaglione made the first sketches for Ebony back in 2008, but it took a few years of maturing in a drawer to be developed into a multi-functional type family. While keeping in tune with TypeTogether’s focus on complex typographic structures needed for magazine, newspapers and books —whether printed or digital—, Ebony goes far beyond editorial use and promises great performance in branding and advertising. The range of dark weights with taut and powerful curves can boost any headline, while the lighter styles create an approachable and clean feel in blocks of continuous text. Ebony does not fall short on aiding legibility either; letterforms have a distinct direction of ductus and features like the top serif on ‘l’ help making them clearly distinguishable from each other. It is a type family that cleverly seeks a balance between the openness and legibility of humanist sans serifs and the striking and more regularised character of grotesques. The letter-shapes feature generous counters and open terminals with crisp angles, and daringly grow both in colour and width as the fonts get bolder. Infused with this strength, Ebony also shows a quirky side in some of her shapes; the vertical fractions, the at-symbol, the old-style numbers, … The predominantly slanted style of the italics is broken up in some letterforms, such as ‘a e f l’, that are more in line with a classic cursive appearance. This, together with a forceful italic angle, ensure a change in texture within a block of text, despite sharing the same letter weight and width with the uprights. With 18 styles, tending towards the heavier part of the weight-spectrum, this face has a powerful quality!

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Make the typography logo on your brand more elegant and professional by using the Logistra font, The Logistra font is a serif font that has thick and thin strokes that contrast in the glyphs and is made with a straight line structure and smooth curves so that the Logistra font looks professional and elegant, and there are alternative letters and ligatures to make your typography design look unique and attractive. Logistra font is also perfect for various projects such as hand lettering, merchandise, advertisements, invitations, social media posts, video thumbnails, quotes and etc. What's Included : - Logistra (otf/ttf/woff) - More than 280 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations,Ligatures and Stylistic) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Finnish, French, Frisian, Galician, German, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Studio Neon is an all-caps display font constructed with three rounded-end strokes; the lowercase set is included as a repeat of the uppercase to make setting type just that little bit easier. It’s a modern rendition of neon sign lettering, with a decidedly art deco pedigree, and is intended for use in larger sizes of type, upwards of 36 pt. It’s perfect for a design that wants to imitate neon — use Photoshop layer effects to light it up! I originally started this font with only a few letters, since I could not find a neon-style font made with 3 strokes that looked modern. (Once I started, I found out why. It's a LOT of work!) Most traditional neon fonts include a “bent tube” element in the design; however, not all modern neon signage is constructed with the tubes bent. I also wanted to design a fun font that would have more life than just as an imitation of signage — something to inspire designers who love the geometry of art-deco type. So I made all the corners consistent, with no references to bent tubes. Use this font for any application that needs a bold and decorative look. Studio Neon should work well for sign production and even vinyl cut applications at larger sizes.

Make the typography logo on your brand more elegant and professional by using the Belugia font, Belugia font is a serif font that has thick and thin strokes that contrast in the glyphs and is made with a straight line structure and smooth curves so that the Belugia font looks professional and elegant, and there are alternative letters and ligatures to make your typography design look unique and attractive. Belugia font is also perfect for various projects such as hand lettering, merchandise, advertisements, invitations, social media posts, video thumbnails, quotes and etc. What's Included : - More than 310 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations, Ligatures and Stylistic) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Finnish, French, Frisian, Galician, German, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

And the day in which I introduce my second typographic family has arrived. In order to do this, I borrowed several passages from this beautiful book by Maurice Maeterlinck, “Life and Flowers”. His poetic observation of Nature made me reflect about the small discoveries behind the flow of my pen on paper. About that quick, spontaneous, overwhelmed stroke, with some awkwardness as well as certainty in it. About the writing that looms line after line. About the mischievous stains of ink flooding my writing tool. Lady Dodó was born as a product of these drawings, pieces of writing and reflections. Following the steps of its ancestor and friend, Lady René, it takes advantage of the goodness of the Open Type technology to propose a systematized as well as a personalized writing font. Both friendly and challenging. Due to the large number of alternate characters (both for lower and upper case as well as for numbers) and to its precise programming, it proposes to design diverse and rich typographical sets with multiple strokes in a simple way. However, Lady Dodó is not just made of typographical signs; it also proposes a set of modules to make patterns and another one to design frames. From the combination of these modular signs, an infinite universe of possibilities for decoration arises. Here is Lady Dodó, ready to get started and write its destiny. July 2015.

Broken letters[1] (German: gebrochene Schrift literally "broken writing"; English: blackletter) or Gothic letters, also known as German letters, are the typeface used in Europe West from the 12th century to the 17th century. Meanwhile, Danish spoke it until 1875 and German, Estonian and Latvian spoke it well into the 20th century. Fracture is one of the broken typefaces that is often considered to represent the entire broken typeface. Broken letters are sometimes also called Old English, but not in the Old English or Anglo-Saxon sense that was born centuries earlier. This group of letters is so named because it contains Latin letters that have breaks in the curvature of the letters, either in part or in whole designs. The fracture arises from a sudden dip when writing certain parts of the letter. In contrast, letters with perfect, unbroken curves, such as Antikua, are created from smooth, flowing writing movements. Grogoth is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Grogoth font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts. Thank you, and don't forget to check out our other products.

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport. In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger. The Frutiger™ family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well. See also the new revised version Frutiger Next from the Linotype Platinum Collection. Featured in: Best Fonts for Logos

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

Thanks for checking out Snowdrop Script! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & alternates, Snowdrop Script is guaranteed to make your text stand out - perfect for wedding invitations, printed quotes, cards, product packaging, headers and whatever your imagination holds. By the way, you can make your own design IN ANY language What's really awesome is that Snowdrop Script comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text. Here's what you get in the download: 1. Snowdrop Script - A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Fully support of all Latin and Cyrillic languages 2. Snowdrop Swirls - The set of small letters with swirls at the beginning and end of the letter. You can use A-Z and A-z to get to them 3. Snowdrop Alt - The set of small letters with special endings + a set of letters with special curls for the middle of words Fonts are provided in TTF / OTF / WOFF formats. You do not need a special design program. Font easy and convenient to use.

The great enigma There are hidden depths to FS Silas Sans. First impressions are of a functional, multi-purpose typeface with a cool, edgy, angular character. Gaze into its eyes a little longer, though, and you'll detect a more nuanced, colourful personality, with full, open, satisfyingly squarish forms balancing the abruptness of the sharply-angled terminals and ascenders. Authoritative, official and stern on the outside; amiable and welcoming on the inside. You’re so Dane The designers, led by Phil Garnham, were trying to capture something straight-talking, authentic, and a little... Scandinavian. ‘We were thinking about some of the characters in Danish dramas that were on in the early stages of the font’s development, like The Killing and The Bridge,’ says Phil. ‘The police officers, that is, not the psychopathic killers. Smart and a bit cool, but with a warm heart.’ For a good Danish name, we settled on Silas. It was that or Hans-Christian. The finer points Silas Sans rewards close inspection. Study, if you will, its amply squarish forms, the roomy ‘o’ and ‘e’, in particular. Observe the angular ascenders and terminals of, for example, the ‘L’, ‘I’, ‘d’ and ‘i’, inferring the movement and lift of a pen. Consider the cuts to the ‘A’ and ‘v’ that create harmony with adjacent letters. And scrutinise the subtle ink traps set within the ‘A’ and ‘Y’ for reproduction at small sizes. A fine subject, we think you’ll agree, and available in a versatile range of weights to make (with FS Silas Slab) a typographic system with a comprehensive hierarchy.

Wild Flowers is a unique and modern bold serif font that seamlessly blends traditional elements with contemporary style. Its bold and confident lines give it a strong presence, while the decorative serifs add a touch of elegance and sophistication. This font is perfect for a wide range of design projects, including branding, editorial, packaging, and headlines. Its versatility allows it to work well in both print and digital mediums, making it an ideal choice for both body text and larger display uses. One of the key benefits of "Wild Flowers" is its legibility. The clear, well-defined letterforms make it easy to read, even at smaller sizes, while its boldness and character make it ideal for designers looking to make an impact with their typography. In summary, "Wild Flowers" is a modern and unique serif font that will add a touch of sophistication and style to any design. Its blend of traditional and modern styles makes it a versatile font that will work well in a wide range of projects, and its legibility ensures that it will be easy to read no matter the application. What are you getting? - Special Ligatures & Alternates - Numbers & Punctuation - Multilingual Support Works onMac PC & Mobile - Simple Installations

Metaphysica is an unorthodox futuristic typeface that provides otherworldly zest without overly compromising typographic aesthetics. Combining weird angular beams and junctions with soft and round forms, Metaphysica finds the middle ground between sci-fi futurism and friendly legible sans.

Hey there! Introducing Sugar Peachy Retro Soft Display - a font that exudes happiness, uniqueness, and wonder! This groovy display font has a retro 70s style with soft and chewy characteristics that are perfect for display, titling, and even logos or headers. With 5 styles ranging from thin to black, you can use it for short text or large displays. Plus, Sugar Peachy has special features like alternates and ligatures that make it ideal for all kinds of design purposes like branding, product design, websites, posters, stickers, merchandise, and more! Similar Item: Gyoza : https://www.myfonts.com/collections/gyoza-font-ahmad-jamaludin Gunydrops : https://www.myfonts.com/collections/gunydrops-font-ahmad-jamaludin Kelpo : https://www.myfonts.com/collections/kelpo-font-ahmad-jamaludin Swipe: https://www.myfonts.com/collections/swipe-font-ahmad-jamaludin Replay : https://www.myfonts.com/collections/replay-font-ahmad-jamaludin Bright : https://www.myfonts.com/collections/bright-font-ahmad-jamaludin Margin : https://www.myfonts.com/collections/margin-font-ahmad-jamaludin Nighty : https://www.myfonts.com/collections/nighty-font-ahmad-jamaludin What you get? Sugar Peachy Light Sugar Peachy Regular Sugar Peachy Medium Sugar Peachy Bold Sugar Peachy Black Features : Alternates and Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Give your design projects that fun, playful edge with Sugar Peachy! Thank you, Dharmas Studio

An elegant duo of fonts and floral illustration extras - designed to work together in harmony, to produce a plethora of beautiful, sophisticated & feminine designs. The luxurious modern calligraphy script works perfectly together with the delicate hand-drawn florals - ideal for elegant branding projects, greeting cards, packaging, social media, logo design and of course, wedding invitations. Also included is Serenity Serif, a rustic serif font, with a touch of imperfection as you'd find in old printed press inks - to contrast with and therefore compliment the more refined luxurious contemporary flow of the script font . Serenity Script includes handy OpenType features that makes the font look more natural - it includes a universal beginning swash for lowercase letters , a full set of lowercase letters with ending swashes, a beginning swash that can be added via OpenType Ligatures by typing either { } or ( ), and a full set of alternate lowercase letters , as well as 70 beautifully crafted ligatures . A more slanted, and heavier version of the script is also included for you. OpenType capable software is required to access these features - The most popular of which is and Photoshop CC, any version of Illustrator, Indesign, Word (new versions).  The Serif font comes in 4 versions: Regular, Bold, Heavy and Italic - when used together with different tracking settings and weights, they produce beautiful looking type designs to compliment the Script.

‘Technical Signature’ 2015-2021. A Pixel labyrinthine Display Type System! Plus, Digital “Layer Game”, Futuristic & Sci-Fi Optical Texting for interfaces evolution Landmarks! Now with 3D Styles! 18 Styles total! Revised, Verified & Updated New Edition ! It was inspired also by antique juxtaposed zig-zag Greek mosaics ornaments “ancient times computer” which defined it into a Small Caps Font, while another pair font with same metrics was made to reminisce the manuscript look as a “sister” and Cursive symbiont. Searching for a technical language and perpetration, resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better correspondent renamed fonts & style linking, addition of responsive OT features encoding and 3D Styles. Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is ideal to Technician Designs, things like Footer Signage, Engineering & Crafts Logos, Op-Art Posters, Stamps, Labels, Printed & Digital Certificates, Plus Movies interfaces, Internet Headings and Text and of course Video Games!

The famous lettering “Capital Trajana” (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms. However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs. It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty. It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power. Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few. Marcus Traianus font is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages Marcus Traianus is presented in two weight: Regular, Italic, Bold and ExtraBold.

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

Presenting Raigatta Script! An authentic script font with Alternates and Extra. This font made with the perfect combination of each character. You can combine with aLternates and extra to get a unique combination. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and in any project. You can see in the presentation picture above, Raigatta Script looks unique and so flow style on design projects. So, Raigatta Script Font can't wait to give its touch to all your design projects such as quotes, weddings, Japanese theme design, poster design, personal branding, promotional materials, website, logotype, product packaging, etc. WHAT'S INCLUDED? Raigatta Regular • It comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, Many Ligatures, Alternates, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). Raigatta Stylish Alternate • It comes with uppercase and lowercase. Just access using Opentype Feature or Characters Map Tool. Raigatta Alternate Ending Swash • It comes with lowercase only. Just access using Opentype Feature or Characters Map Tool. Extra Swashes • Included 12 Underline Swashes. You can feature all with typing c_1 until c_12. Just access using Opentype Feature or Characters Map Tool. A Million Thanks Colllab Studio

Revista is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. The font harmoniously blends different styles into a single big family, which consists of a Didone uppercase and small caps family—including 4 variants ranging from a monolinear Thin to Black with matching italics—and an Inline Black variant that works as a decorative alternative to the Didone fonts. Revista Stencil, one of its versions, comes with the same number of variants. Revista also comes with a Script Family that includes 5 weights, ranging from Thin (monolinear) to Black, contrasting in a tidily untidy way with many ligatures and alternates. You can choose between using stylistic alternates—if you want to give your designs a different untidy look, in the style of the modern calligraphy—or switching between different options if you are looking for a hand-written style. We highly recommend using the default contextual alternates and discretionary ligatures in order to take more advantage of this great font family. Revista includes 2 sets of dingbats, varying from zodiac signs symbols to technology symbols, and complementary ornaments in 3 different weights: Thin (monolinear), Regular and Black. All these features make Revista an ideal typeface for users to design to their liking! Photo by Fervent-adepte-de-la-mode