Step into the chilling world of 70s Italian horror with Giallo Rossa, a giallo inspired typeface. This macabre creation captures the essence of classic Italian giallo films, evoking a sense of foreboding and terror in every letter. With its sharp edges and jagged lines, Giallo Rossa has an unsettling energy that will leave you mesmerized. Immerse yourself in a typographic nightmare as you unleash the power of Giallo Rossa. Its letters embody the twisted beauty of giallo cinema – every curve reminiscent of a shadowy figure lurking in the dark corners. No matter what you’re designing, Giallo Rossa is your perfect accomplice. This horrifying typeface will set your creations apart from the mundane. Beware though: once you delve into Giallo Rossa‘s sinister embrace, there’s no turning back!

Made in La Chaux-de-Fonds (Switzerland), HyperTurfu was born during the shooting of “The Return of Hyperturfu Xpress 2”. A GoPro on a lego electric train, meters and meters of rails, an empty industrial space, loads of puppets, paper, cardboard, pizza boxes, lights, hot glue and a bunch of friends preparing a one shot scene for a month. The title of the movie was made out of lego pieces, painted with golden spray and hanged over the rails. It was the first inspiration for this awsome superbold font. HyperTurfu is thought from ground up to give a strong impact. It’s gothic retro science fiction 80’s style makes it best suitable for metal music albums or posters. As the “Banco” font it works perfectly with short texts for advertisement, bar, cofee shops concert places or even fancy hairdresser. Just hang it over a pet shop and see what cool animals will come in.

In 1543 the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, was printed by Johann Oporinus in Basel (Switzerland). Various typefaces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one which inspired this font. It is a very elegant one, including the “long s”, a few abbreviation forms and ligatures. As it was a Latin text, there were no accented characters and a few capitals were absent. I had to reconstruct them. A render sheet, in the font file, makes all characters easy to identify on the keyboard. This font may be used as a “modern” one for web-site titles, posters and flier designs, publishing ancient texts... and anything else you want! One of the most elegant types ever cut, it stands up very well to enlargement, remaining as readable as in its original small size.

For usage details feel free to download the technical Specimen document https://peggofonts.com/pdf/PGF-Orqquidea-Manuscrita_Specimen.pdf PGF Orqquidea Manuscrita is a font mainly based on the calligraphy hand- made by the Chilean designer, calligra- pher and teacher Marcela Aguilera (Lanascribe) complemented by the il- lustration and type design work made by Pedro González (Peggo FontsTM). As part of the creation of the “Orqquidea family”, which contains a Sans, a Script, complemented with an ornaments and decorations sets, in addition to a huge set of typographic resources de- signed to enrichyour layouts in the cre- ation of graphic pieces such as labels , packaging, editorial work, retail graph- ics and branding design.

Mapuche means ‘man of the land’ and it is also the name of a group of indigenous inhabitants in South America. During the southern Winter solstice, between June 21 and June 24, the We Tripantu, the Mapuche New Year fest, takes place with a magical rite in the middle of the nature. Indigena is a dingbat font that remakes the artistic expression of the Mapuche people in Chile, recovering the handmade stroke they used in textiles and ceramics, but with a fresh look. This dingbat is based on pre-Columbian iconographic drawings shown in the book Dibujos Indígenas de Chile (1929) by chilean art teacher Abel Gutiérrez.

An experimental font designed by Viktor Kharyk in Op Art style. UniOpt is based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to ‘Graficheskaya Azbuka’ (‘Graphic ABC’) by Peter Miturich and works by Victor Vasareli. The face is legible even at small sizes and quite useful to an original display matter, initials and logos. The rigid double-wide structure allows to create complicated decorative works using vertical composition. Interesting that diacritical marks are also placed inside of character square fields and don’t destroy geometrical order. The decorative abilities of the font are increased by inverted versions of characters that may be used in different combinations including in color. The character set contains expanded Latin, Greek and Cyrillic ranges. UniOpt was awarded for type design excellence at TypeArt’05 Contest in Moscow. Licensed by ParaType in 2006.

A comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the Germanic variety, designed after Henric Pieterszoon’s “Gothise Monnikke Letteren” as appearing in Enschedé, J. (1768), Proef van Letteren, Haarlem (p. 120); also mentioned as “Great Primer Uncials” and "2-line Brevier Uncials" in Vervliet, H.D.L. (1968), Sixteenth-Century Printing Types of the Low Countries, Amsterdam: Hertzberger (pp. 54-55, and 212-213). The font contains over one hundred glyphs, including as a bonus six layered plus two plain ornamental initials adapted from the Gutenberg Bible (Mainz, ca. 1455) and the Mainz Psalter (Mainz, 1457). Suitable to accompany most Gothic (especially Textura and Rotunda) typefaces, or to be displayed as drop caps or in full titles and headings. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Initials “Gothic C” Font Page. Note: Several uncial initials in The Oldtype “Psalterium” Font have been derived from corresponding characters in The Initials “Gothic C” Font, adjusting them to cope with the special (large) x-height and letter spacing of the Psalterium font (so the two sets of initials are not directly interchangeable).

A Nostalgic Signature Font for Christmas Sentimental Feeling is a script font that aims to capture the festive magic of Christmas with a retro design inspired by 1950s magazine editorials, classic movies and real hand-written signatures. It's a warm design that evokes Christmases of old, with a smooth brush-like flow and subtle human imperfections. It's equally at home singing carols, sharing Xmas Eve stories or serving cocktails at your New Years party. This happy holiday font comes with a complete set of uppercase and lowercase characters, plus numerals, punctuation, language support, symbols, alternatives, custom ligatures, underlines and a selection of festive clipart (including everything you might need to re-create the examples seen in my visuals). Add it to your toolbox and create the perfect Christmas designs, such as gifts and stationery products, ads, titles and much more!

Hercílio is a typographic family without condensed serif, modern and geometric inspired by the architectural forms of the Hercílio Luz Bridge in Florianopolis | Brazi Comprising eleven (11), weights of which ten (10) business are: Five weights Romans: Light, Normal, Regular, Medium and Bold Five Italics weights: Light, Normal, Regular, Medium and Bold And a weight (FREE) Hercílio Decorative Comprising 430 glyphs in each source, brings support for 56 languages (Latin and West, Central and East European) still has features Open Type, ligatures and tabular figures. http://www.cort9.com/wp-content/uploads/2016/05/Specimen_Hercilio.pdf

The mischievous elves crowding the keys on Santa's Little Keyboard might not make Santa's work easier (even though they're supposed to!), but they'll certainly help you and your kids put together greetings and decorations for the holidays. Lovingly illustrated by 'Lilou', Santa's Little Helpers will liven up cards and letters alike -- or just print them out for your kids to color while they're trying to get to sleep on Christmas Eve!!

Type designer Luc(as) de Groot has a large archive of lettering he drew by hand, often to accompany the quirky cartoons which he made in his visual diaries. Only a few of these alpahabets have been digitized into full-fledged typefaces. Punten (Dutch for "points" or "spikes") is one of them. It comes in three styles of varying legibility: Punten Straight, Punten Extremo, and Punten Rondom (Dutch for "all around").

David Berlow drew Romeo Medium Condensed during winter of 1990, basing the design on the Estrecha Fina weight of Electra, a spectacular art deco sanserif with an unusually fine condensed series. Carlos Winkow designed it circa 1940 for the Nacional typefoundry of Madrid, the leading typefoundry in Spain. Jill Pichotta drew the ultra-light Skinny Condensed, a digital tour de force released with Medium Condensed; FB 1990–91

From the pages of the 1939 French lettering book “Modèles de lettres modernes par Georges Léculier” (“Models of Modern Lettering”) comes an attractive and unusual set of initial drop caps made from square letters adorned with multiple vertical lines. Originally designed as white letters on black backgrounds, an additional set with black letters on white backgrounds comprise Deco Drop Caps JNL; available in both regular and oblique versions.

La vie est une fleur dont l'amour est le miel Fleur is the French for flower and I've chosen this language for a good reason. Over the past 5 years, I've had the opportunity to travel a lot to Paris and I've always tried to catch every moment and detail of this delightful city through the eyes of the designer inside me. Paris is full of surprises, mainly for us, artists. In fact, I believe the city is a museum itself. Every corner of any street has something inspiring. But, there’s something I particularly love and I want to address here: The Palais Garnier. Built between 1861 and 1875, this opera house is a dream made true for many of us, who love somptuosité. Garnier, the architect of this magnificent building, said that the style he proposed was not Grecian nor Roman/baroque, he created something new and called it Napoleonic: Luxurious at its best. Fleur is inspired in this palace which, in fact, has some similar letters inside. Garnier put his name at the ceiling of the Rotonde des Abonnés: Letters are interlacing each other with nicely done art nouveau curves. I thought I could take this idea and achieve something very delicate and imposing at the same time if the font consisted entirely of caps with the logic of a didone and a bit of art-nouveau. This mix of elegance and flamboyance gave birth to Fleur which has a wide range of uses but was mainly intended for perfumes, fashion magazines, storefronts, book covers or logos. Not only you'll find many decorative glyphs, but also a vast amount of unique ligatures will make you really adore this font. Get Fleur and profite de la vie TECHNICAL As suggested above, the font has many open-type coded alternates and a vast amount of unique ligatures. Install the font in applications that support them, like Adobe Illustrator or Photoshop.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in a magazine from the Otto Maier publishing house, Ravensburg, which was issued sometime in the years shortly before WWI. The magazine is entitled ”Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete“ (Collection of scripts for technical specialists: reduced scripts of the most significant alphabets) and published by Karl O. Maier. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. The characters have been scanned, digitized and greatly magnified. Special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch. Especially worthy of note are the Jugendstil forms characteristic at the turn of the19th century. In comparison, many alleged ”ultramodern“ font types of today suddenly look quite old-fashioned. Maier’s Nr. 21 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

Fushar is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin alphabet of European languages, Vietnamese and Pinyin with standard ligatures, digits, punctuation, currencies and other symbols - the total of 555 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic script which is available in Fushar Arabic. The Latin character set is a useful addition and is available in multilingual bundles. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include contextual alternates, standard ligatures, fractions, ordinals, case-sensitive forms, proper mark attachment, superscript (1, 2, 3) & localizations.

Myhtring is a spine-chilling display font that will cast a spell of fear on your designs. Designed in uppercase and with a bold weight, this typeface demands attention and exudes an aura of darkness and mystery. Each letter is meticulously crafted with details resembling menacing plant roots with sharp edges, adding an eerie and sinister touch to the font. With its bold weight and uppercase design, this font creates a powerful and impactful presence. The root-like details in each letter of Myhtring give the font an organic and unsettling appearance, as if the letters are entangled with malevolent and ancient roots. These haunting details add a sense of otherworldly energy and create an atmosphere of foreboding and suspense. The combination of bold weight and sharp-edged root details gives this font a sinister and enigmatic look, evoking images of dark and sinister forces lurking in the shadows. The letters seem to possess an aura of malevolence, making it an ideal choice for projects that delve into the horror and the supernatural. 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 Mythring 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.

Poster artist A.M. Cassandre designed one of the most evocative typefaces of the Art Deco era, Bifur. This type was unusual in many ways, but one of the most distinct features was that besides a regular one-color font, it was also available as a two-part font for a chromatic treatment which was highly unusual for metal typefaces. This "bifurcated" type is almost impossible to find in print shops or even in specimen form. It has however become recognizable as a true icon of the Art Deco genre. The IHOF version of P22 Bifur features the addition of a lower case alphabet as well as multiple options for the shading layer, allowing for a wide range of design applications from straight-forward Deco headlines, to abstracted and de-constructed experimental design.

Italic type was invented by Aldus Manutius in 1499 or 1501, first, before to be a style name, it was a plain font familly name. This Italique style font was inspired from these who was used by Jean de Tournes in Lyon (France) to print La mÈtamorphose d'Ovide figurÈe, a splendid book with numerous gothic style wood carved pictures. The original font contains almost all modern usual characters except accented ones, no longer in use on that time. They have been added, with some others, with respect for the original design. . A render sheet, enclosed in file, help to identify various others unusual letters on keyboard. It is used as successfuly as web-site titles, posters and fliers design, editing ancien texts or greeting cards, invitations, gastronomic menus... and much more, as a very decorative and elegant font... It supports easily as enlargement as small size, remaining clear and easy to read from 8 or 9 points to 72 and more, particularly on prints.

A unique kind of type by Michael Herold: The 14 cuts of Corner are equally distributed to the two style variants A and B. From Thin to Extra Bold, variant A comes with technical and pure forms while B appears with a soft, more personal character. In combination, the two variants add up to a highly versatile family which is very well suited for branding purposes, thanks to its diverse forms of expression. Eine besondere Schriftfamilie von Michael Herold: Die 14 Schnitte der Corner sind auf die beiden Stilvarianten A und B verteilt. Von Thin bis Extra Bold kommt die Corner im Stil A mit technischen, reinen Formen und im Stil B mit weichem, persönlicherem Charakter. Als Kombination ergibt sich eine sehr vielfältige Familie, die sich mit ihren verschiedenen Ausdrucksformen besonders fürs Branding eignet.

Gia is 7 weights, true small caps and unicase options, designed after iconic letterforms of the 1960’s to 1980’s. In the early years of the American tech revolution, when Silicon Valley was more closely identified with Dallas, Texas, a curious type of letterform began to appear—strict in geometry, and curiously minimal in geometry and stroke, making it easier to be read by machine-readers, and people more used to reading machine-generated typography. Coders! As the years went on, this kind of sinewy, curved letterform began popping up in logotypes and music videos and upright video games: NASA, The Buggles, Atari, Pong, Sega, Namco, Stern, Devo, Apple. Gia pays homage to that letterform, and is named after Gia Carangi, the iconic face of early 1980’s pop fashion.

The popular Geogrotesque family becomes an extended system with the inclusion of three new members to the family; Geogrotesque Condensed, Geogrotesque Compressed and Geogrotesque Extra Compressed. The condensed series keep the spirit of the original one, and give way to a superfamily up to 56 styles. This new system fluidly varies between widths, ranging from the original width to a 55% of it in the narrower one. As their original partner, the new fonts are great headline families for publications, but will also work in text of intermediate length and point size. The Geogrotesque superfamily offers now one font for each design need. It is available in Open Type format and includes Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. All of them with support for Central and Eastern European languages. This type family consists of 42 styles, 7 weights plus italics in 3 widths. For more details see the PDF.

Chandelier Signature a new fresh & modern script with a handmade calligraphic style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Chandelier Signature come with 530 glyphs+. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts. so that all the alternate characters can easily be accessed in full by a craftsman or designer. Chandelier Signature Features : - Uppercase & Lowercase - International Languange & Symbols Support, Punctuation & Numbers, PUA Unicode Range Standard Ligatures, Discretionary Ligatures, Stylistic Alternates, Stylistic Set 01-05 Character. If you have any question, don't hesitate to contact me by email pointlab23@gmail.com Thanks!

Archimedes is a wood type design sometimes known as Mansard. This particular version was brought back to life as a wood type font by Virgin Wood Type. The variation with screw heads in the design was first seen in 1879 by the William H. Page Co. This new digital version is a simultaneous release with Virgin Wood Type and features a variety of styles including the standard screw head option—plus a Phillips head, Hex/Allen Wrench head, and even the vexing Apple® pentalobe tamper reistant star screw. The result is a sturdy and industrial font that has a certain “joie de vivre” and “bling” attitude. Not for every designer, but you know this is for YOU! As a bonus, the screwheads themselves are accessible via a glyph palette, so you can put the screws to Comic Sans, or any other font, if you so desire.

The inspiration source for MFC Botanical Borders is a collection of border treatments from the 1886 “Spécimens de caractères d'imprimerie” by E. Houpied a Paris. This collection of elegant floral and foliage borders has been put together with their original decorated rules, as well as alternate matching precision rules for added versatility. You can start with a new document or work on a new layer within an existing document. Select MFC Botanical Borders from the font menu. (Some users may have font previewing enabled in the font menu which will cause the font name to appear as border elements, disable this option in order to choose the name) Make certain that the point size of the font is the same as the leading being applied to the font so the borders will meet up properly. While we’ve adjusted this within the font, your program may override these settings. For instance a 12 point font should have 12 points of leading. A PDF guidebook for MFC Botanical Borders is included in the font package. Download and view the MFC Botanical Borders Guidebook if you would like to learn a little more.

Western Americana is a unique collection of signatures of 72 famous American frontiersmen, gunslingers, Wild West personalities, outlaws, and Indians in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Western celebrities. This font includes signatures from the following American West personalities: William Frederick Cody ("Buffalo Bill"), George Armstrong Custer, Meriwether Lewis, William Clark, Kit Carson, Joseph Brant, David Crockett, Wyatt Earp, Geronimo, James Bowie, Daniel Boone, Sam Houston, Calamity Jane, Sitting Bull, William H. Bonney ("Billy the Kid"), Cole Younger, Bob Younger, Jim Younger, Pat Floyd Garrett, James Butler "Wild Bill" Hickok, Squire Boone, Samuel Colt, Gordon William Lillie ("Pawnee Bill"), Annie Oakley, William Barret Travis, Allan Pinkerton, Jose de Galvez, George Rogers Clark, George Crook, John Charles Fremont, George Croghan, Simon Kenton, Maj. Frederick Benteen, James Wilkinson, Nelson Appleton Miles, Philip Kearny, Chief G.H.M. Johnson, William George Fargo, William Barclay "Bat" Masterson, King Philip, Frank James, Eleazer Williams, Henry Wells, Junipero Serra, John Sevier, John Ross, Joseph Virgo, Chief Joseph, Red Jacket, Manuel Lisa, Julian Dubuque, John Augustus Sutter, Manuel Lisa, Jesse James, Jesse James alias Thomas Howard, Manasseh Cutler, Robert Newton Ford, Emmett Dalton, Henry McCarty alias Greenville Mellen Dodge, Edward Zane Carroll Judson ("Ned Buntline"), Rain-in-the-Face, James Robertson, Zebulon Pike, Chief Two Guns White Calf, Pierre Chouteau Jr., Frank Butler, Isaac Shelby, Moses Austin, Moses Cleveland, Rufus Putnam, Pierre Chouteau Sr., Father Pierre Jean De Smet, and Auguste Chouteau. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

Proudly present Sippin' Midweek a retro vibes yet glamour serif. In "Sippin' Midweek," we blend retro charm with unmatched elegance. Its serif style provides a classic touch that speaks of the luxury of yesteryears. This font is suitable for poster designs, labels, and branding materials that require a classic and radiant ambiance. Add an elegant retro touch to your project with Sippin' Midweek. Font Features : Lettres, numbers, symbols, and punctuation 55+ alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Regina-Cursiv is a warm, bold, casual typeface. Its friendly, rounded curves remind me of the line from a gospel song by the Canton Spirituals, about "smoothin' up the roughway." Jointly released by the Bauer and Berthold foundries of Germany during the fin-de-siecle period, this typeface has some cultural flexibility. There are alternate versions of the uppercase ‘H’ and ‘I’ that can be chosen to reflect a humanist or blackletter tradition, whichever you prefer. Other alternates offer various stylistic choices. Regina Cursiv is a friendly, comfortable font. You will enjoy using it. Alternative letters: D, E, G, I, K, S, T, d, h, k, m, n and z. The numerals are old-style figures.

Even though the phrase Art Nouveau originated in Paris at the shop of Siegfried Bing, the French preferred to call it Le style moderne. This very sinuous, very Art Nouveau typeface was designed by an E. Mulier around 1894, probably also in Paris. The organic, vine-like curve forms are frequently seen in the art of the period. Examples include the architecture of Victor Horta, the furniture of Henry van de Velde and the jewelry of Max Gradl. Mulier Moderne is an all-cap font with a full Western European character set plus ST and TH ligatures, an alternate ‘E’ and two glyphs of period printer’s cuts. Warning: do not use for extended text. Duh!

SECONDS OUT! ROUND ONE!  The champ comes out swinging, there’s a left hook, a right hook, another left, another left to the chin, a box to the ears, a punch to the stomach, the challenger is reeling, he’s on the ropes, there’s another left to the chin and here’s the knockout, RIGHT IN THE KISSER! The Kisser. The Mouth. You know, what you kiss with? SMAK! It’s a font with a fat lip or one that makes you look like you’re talking’ with a fat lip. Or if you’re more of a lover than a fighter, it’s a big wet kiss from your loved one when the clock strikes midnight on New Year’s Eve. Either way, you win!

Introducing Sun Type, a delightful and versatile serif logo font that exudes creativity and charm. With over 150 ligature glyphs and alternate characters, this font offers a wide range of design possibilities, allowing you to craft unique and visually stunning logos and brand identities. Sun Type goes above and beyond with its extensive collection of 52 swashes, offering you the opportunity to add elegant and decorative elements to your text. These swashes effortlessly elevate your designs, giving them a touch of sophistication and individuality. Not only does Sun Type excel in its aesthetic appeal, but it also showcases its practicality by supporting a staggering 87 languages. No matter where your audience is located or what language they speak, you can confidently communicate your message with this font. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu LigaturesAB,AC,AD,AF,AG,AI,AK,AL,AM,AN,AP,AR,AT,AU,AV,AW,AY,BA,BE,BI,BL,BO,BU,CA,CC,CE,CH,CI,CK,CL,CO, CR,CT,CU,DA,DD,DE,DI,DO,DS,DY,EA,EC,ED,EE,EF,EG,EI,EL,EM,EN,EP,ER,ES,ET,EV,EW,EX,EY,FA,FE,FF,FI, FO,FR,GA,GE,GH,GO,GS,HA,HE,HI,HO,HT,IK,IL,IM,IN,IT,IH,KE,KI,KN,KO,LA,LE,LF,LI,LK,LL,LO,LT,LY,MA,ME, MM,MO,MP,MS,MU,NC,ND,NE,NG,NK,NL,NN,NO,NS,NT,OA,OB,OC,OD,OF,OG,OI,OK,OL,OM,ON,OO,OP, OR,OS,OT,OU,OV,OW,PE,RA,RE,RF,RK,RM,RN,RO,RR,RS,SA,SC,SE,SH,SK,SS,ST,TC,TE,TH,TI,TL,TO,ST,TT,TU, TW,TY,UC,UE,UL,UM,UN,UR,US,UT,VA,VE,VO,WA,WE,WH,WN,WO,YE,YO,YS,MEN,FRO,RON,ROM,THE, AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,TER,WAS,YOU,ITH,VER,ALL,THI,OUL,GHT,AVE,HAV,HIN,ATI, EVE,HING,WERE,FROM,THAT,THER,HAVE,THIS,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione