Rebrand is all about geometry, a typography that boosts confidence. However, contrary to pure, cold mathematics, this font seeks a more jovial and friendly face. The goal with Rebrand is to offer a Geometric Sans Serif font that can work in various instances, from symbols and titles, to text, and everything in between. It also creates a whole lot of personality, ideal for branding. There are two versions: Display, which is more fluid and dynamic with nine programmed weights for a wide array of intensity. This version also has various alternative characters and swashes. Text, which has the same attitude as Display, but is a little more serious with seven programmed weights to provide distinctive extremes and subtle variations among the mid-tones. Both cover basic Cyrillic and come in small caps. Both create one phenomenal typography: Rebrand.

Inspired by the emerging Korean culture that grabbing the worldwide actuation in so many realms of the industry. To bridge the vibes and to make it easier to consume, we found the gap to fill with simple things in life that are useful for it, and yes, it's a new day it's a new font. So without any further ado, please welcome Hwaiting Serif. 3/3 series of Korean vibes typefaces. It's a serif font with a thick and thin style of visuals, aiming the luxury and glamorous tone to catch up with high-fashion branding and today's graphic design trends Crafted with deep research about Korean traditional letters, shaped up with the approach of universal Latin letters. This is the last drop of 3 series from the Hwaiting family. Thank you for your engagement with us.

the name Stickwithu was inspired by the title song Stickwitu sung by The Pussycat Dolls which was very popular in the early 2000s. Stickwithu has been designed to make any project look like it was handwritten by hand. a simple yet modern handwritten typeface that’s perfect for adding personality to your typographic design. With its intersecting lines and decorative shapes, Stickwithu gives you the perfect look for use in logos, branding, wedding invitations and stationery, social media posts, and even handwritten quotes. That’s what we’ve done with Stickwithu and want to share with you. We hope you find something unique that will add personality and character to your designs. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products. ~Redy

Once upon a time, Mestre Patau, the «Black» magician, concerned about children´s typefaces historical ugliness, decided to settle the matter and using his vector powers, made letters embellished to be used in that stories so that they were according with the great genius all children have inside. Well done face but happy, goodness is not incompatible with joy. A solid construction, smooth, rounded, vibrant, generous curves and even more generous x-height and general proportions, give to the letter the vitality and freshness needed for use in projects where formality is not a requirement. Naughty but welldone, although not heeding the overshoots or the formal alignments, no symmetry in the horns is, despite this, or because of it, a fresh, cheerful but perfectly legible type. A full menu of freshness in your tales and stories!

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Monako Stoned was inspired by the Apple system font Monaco, and is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype. Branczyk designed 16 of these himself."

Thanks for checking out Madisya Script! A very fun yet elegant script font with lots of energy, it lets you create beautiful handcrafted typography in an instant. With extra curves & twists, Madisya Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and anything else you can imagine. What's really awesome is that Madisya Script comes with a full set of lowercase alternatives, which allow you to create more authentic custom-feel text. This type has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Madisya Script! Feel free to use the #Black Studio tag and the #Madisya Script font to show what you've done, I really hope you enjoy it! Thank You!

Rough-hewn industrial geometric typefaces have been used and admired from early wood types through the digital age of Machine and beyond, but they have lacked an expansive enough family to become a true workhorse. The Tradesman family finds its origin of inspiration in the Craftsman tool company logo, and from there expands to type megafamily. Tradesman celebrates the angular octagonal forms of industrial lettering, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its reliably tough tone from the all capitals lettering that inspired it, and goes on to include a lowercase, small caps style, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

At first glance, Burgstaedt Antiqua looks like an old typewriter face, or rather like a typeface from a typewriter that has gone hopelessly wrong! Only after your second glance will you see this font for what it really is - a thoroughly new text face. Several features of Burgstaedt Antiqua, and its companion italic face, are worth special attention: First, the terminal styles of the letters vary throughout the alphabet. This gives text set in Burgstaedt Antiqua a slightly jittery feeling. A second interesting feature is the lowercase q", which takes the form of a shrunken-down uppercase "Q". Burgstaedt Antiqua Regular and Burgstaedt Antiqua Italic may be used in both text and headlines. For use in text, we recommend employing a slightly larger point size (12 pt or 14 pt and above). British designer Richard Yeend designed this family in 2002.

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

Introducing Borex, the ultimate font for all your sport racing needs. With its bold and dynamic letterforms, it captures the excitement and energy of the race track. And with four unique variations, including regular, slant, and taper styles, you can customize your designs to fit the tone and theme of your project. Not to mention, the font also comes equipped with alternate characters and unique ligatures to add an extra touch of creativity. So rev up your designs with Borex and get ready for the finish line! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Undulate was designed as an alternating-letter font in which two sets of characters alternate. The alternating is done automatically in applications that support the OpenType feature contextual alternatives (calt). Some individual characters look strange in isolation but they fit into a wave-like pattern in which shapes that bulge up alternate with shapes that bulge down. Undulate has monospaced and monoline letters. The letter spacing is very tight to accentuate the ripple pattern. The family includes an outline style that can be used in a layer above the regular style to add color. Undulate was not designed for any particular use but as a challenge to fit letters into a particular geometric shape. The unusual patterns that a result are eye-catching and may be useful for advertising or signage and in other places where one wants attention-grabbing lettering.

Introducing Going Clap, the font that's all about bold and nostalgic vibes! This chunky slab serif typeface is your secret weapon for making text pop with artistic and vintage flair. With 8 unique font families, including Condensed, Normal, Semi Expanded, Expanded, and their cool shadow versions, you'll find the perfect style for any project. But that's not all! When you choose Going Clap, you'll also get a fantastic bonus—56 retro mascot illustrations for that extra touch of character and nostalgia. What's included? Going Clap Main File Has 8 fonts: Condensed, Normal, Semi Expanded, Expanded, Condensed Shadow, Normal Shadow, Semi Expanded Shadow, Expanded Shadow Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Thank you, Dharmas Studio

I started Rainmaker Script by hand sketching a huge amount of letters to find the right tone. After having enough I picked the characters that I liked and begun composing a font out of them. With this method I ended up with the Rainmaker Script - an elegant signature style connected script with natural variation in the rhythm. Rainmaker Script is great for branding, headlines and packaging. It’s equipped with (automatic) Contextual Alternates that keep the flow natural and variable. There’s also Swash, Stylistic and Titling Alternates, and even more alternates can be found for some characters from the Glyph Palette. From the Glyph Palette you’ll also find a handful of ending swooshes and ornamental strokes that can be combined with the font. All the extras in Rainmaker Script are PUA encoded so you can access them in most graphic design software.

The Seol Sans design offers a fresh palette for designers working with the Korean alphabet, particularly those looking to pair Latin and Korean alphabet (or Hangul) forms without creating typographic friction. The choices for Hangul fonts that work well with humanist Latin typefaces are limited. As Monotype’s first original Korean design, the Seol Sans typeface is a humanist take on the traditional rigid and hard designs of Hangul characters. The Seol Sans design more closely resembles the natural curve of hand-written characters. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and M XiangHe Hei (Chinese). Seol Sans is a great choice for global brands using a Sans Serif design looking to maintain their visual identity, and communicate with a consistent tone of voice in the Korean market.¶

Wonderkids Script Inspired by Retro style and combination with Hand Lettering style. It is made with personality in every curve. I hope this will inspire your work. It is perfectly paired with marker fonts , and includes a super handy set of bonus Swash. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Features Basic Latin A-Z and a-z Numbers Symbols Stylistic Set Ligature PUA Encode Multi-language Support To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). If you have any question, don't hesitate to contact me by email masinong.studio@gmail.com :)

Dixplay, a typeface based on a pixel grid, is available in two weights: regular and black. Inspired by video game aesthetics of the 80s, was originally intended for display applications, but it works fine on paper as well. The font has been conceived in 20 px size allowing more freedom to manipulate it and making a big difference with other fonts of its kind, this difference it’s more evident in Dixplay Black. As a result, it’s optimized for screen use at 20 px and its multiples. Spacing is one of the most outstanding aspects of Dixplay. While pixel fonts doesn't have kerning pairs, Dixplay offers more than 300 manually done that fit perfectly to the grid. It is available in Open Type format and supports Western European Languages that uses the Latin alphabet. For more details see the PDF.

It's a bold, It's HOT ROAD! A realistic hand brushed font just raring to get going. HOT ROAD is handwritten made with a wet brush, dynamic spontaneous flow and natural. It's perfect to leave a realistics impression on social media posts, advertisements, posters, products packaging & more. HOT ROAD FONT comes with several alternates character, ligature, punctuation, numerals. Also included is a bonus extras swashes. Use it for magazines, t-shirt, packaging, logos, advertising, quotes, branding, posters, editorials, cover artwork, movies, websites, etc HOT ROAD Font is coded with Unicode PUA, Allows full access to all the extra characters without having special software designing. Mac users can use Font Book, and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor / app. Thanks so much for looking and Enjoy it!

I set out to design a contemporary font that is condensed with thick and thin strokes. The highly structured forms of this condensed font was made more interesting and softer by giving it a slightly calligraphic tone and by adding round corners. Atto's express purpose is to be both utilitarian, compact and technical but with a friendly face. The name "atto" was adopted since it refers to the measurement of "smallness" or detail. You will no doubt discover all the many pleasant nuances within Atto. Adopted in 1964, "atto" comes from the Danish "atten", meaning eighteen. Atto - (symbol a) a SI prefix to an unit and means that it is 10 to the power- 18 times this unit. Examples are one attosecond or one attometer/attometre. Atto is available in for Mac and Windows in Postscript, Truetype and Opentype.

Geronimo is a rough poster script done in the spirit of brush calligraphy experiments conducted by American calligrapher and historian, Professor Alexander Nesbitt. This particular approach to brush script uses a pointed brush. Although Nesbitt considered the pointed brush corruptive and not at all suited to present day western letter forms, he put forth that with enough control of the brush (keeping it upright, maintaining stroke evenness, etc) even an unexperienced letterer can easily draw current day letters, though the result will always show characteristics of the letterer's own handwriting. Geronimo is a great choice for entertainment design, like book covers, film poster and packaging, and CD inserts. It also is a great overall display design for anything that seeks to depict adventure or an environment with a rough human element. Many alternates are sprinkled throughout the font.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

Marchioness is a typeface that was built on the same basic structure as Lady Edith. I considered making it a subset of Lady Edith but felt that its overall appearance projected a uniqueness that allowed it to stand on its own. Although still maintaining a definite Art Deco form, it differentiates itself from its parent font by possessing a more opulent, if not regal, construction. The bones may be that of Lady Edith, but the typeface itself is most certainly Marchioness. There is no lower case for Marchioness as it is a decorative font. The Upper case version serves both the upper and lower case keys. Marchioness has a glyph count of 389 and supports the following languages; Supported Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Gold is all new for 2021, the complete family has been rebuilt using the multiple masters technique. In this new version we've removed any alternatives that could not be shared across all weights in the family and we've trimmed a few others that just were not practical in keeping a consistent look to the whole font. All the alternates now have matching accented glyphs across all weights. Case sensitive forms have also been added to all weights. With 14 weights the difference between weights are closer together which may give you the effect of a variable font where variable fonts are not supported. For technical reasons the original Gold family has now been split into two families with Gold having ten weights and the four heavier weights under the Gold Magnum family. The Gold and Gold Magnum font families support accented characters for western, central and eastern European countries. Gold comes with OpenType features to access the alternate glyphs however you will need an application such as Adobe Creative Suite to take advantage of alternate glyphs.

Caflisch Script was designed by Robert Slimbach in 1993. The design is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for over three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch�s handwriting has a free flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts. Slimbach retained the subtleties and natural letter joins of Caflisch�s original handwriting while adapting it into a typographically sound and highly practical script typeface. Caflisch Script is a multiple master typeface with a weight axis that allows the typeface to transition smoothly from light to heavy weights, maintaining legibility and visual appeal at a full range of point sizes. Caflisch Script can be used anywhere the appearance of a fine hand is desired, as well as more sophisticated and practical situations such as display work in books and copysetting for advertisements.

The Siseriff family of types contains nine different styles, which were developed by the master Swedish typographer Bo Berndal in 2002. Siseriff is a contemporary slab serif face. Except for the Siseriff Black weight, all of the letters display a slightly condensed appearance that is coupled with a relatively uniform width throughout the alphabet. Siseriff's nine styles are distributed across five weights (Light, Regular, Semi Bold, Bold and Black). The Italic companions for these styles (Siseriff Black does not have an italic companion) are true italics. These redrawn italics add a higher degree of differentiation from the Roman weights than could be achieved with obliques alone. Many common Slab Serif families (e.g., Serifa) do not offer this degree of differentiation. This variety makes Siseriff the perfect choice for journalistic and editorial work, where a good hierarchy may be achieved solely by relying on the various weights available, and their italics. All nine styles of the Siseriff family are part of the Take Type 5 collection from Linotype GmbH."

The master of the dancing brush, Angel Koziupa, and the node-obsessed perfectionist, Alejandro Paul, offer up another bucket of fun with Malambo. This time Koziupa allows his brush to jitter one whole millimeter, and Paul digitizes with two eyes instead of his usual three. Follow your heart, but consume an ounce of peroxide first. Full of energy and cheeky mischief, Malambo tells the eye amusing stories of mirrorless shaving accidents, wine mistakenly poured over the morning cereal, and someone who trips over his own shadow on the dance floor, yet keeps on dancing. And dancing is what this typeface is all about. Malambo is a traditional Argentine dance performed by the gauchos (the Argentine equivalent of 19th century North American cowboys?). The gauchos are still around in the less than touristic areas of Argentina. And although they dance quite passionately and make the heartiest parrillas, most of them probably don't know what a font is. But you know, and we know. And that's something. Malambo was selected as the Best in show display font at the Biennial Letras Latinas.

Fast Rewind: A Timeless Handwritten Script Font A handwritten brush script with a versatile, relaxed and nostalgic feel. This illustrative brush script owes its inspiration to the 1950s art direction typical of mainstream magazines and book covers. A relaxed hand-lettered title was often paired with illustrations of handsome couples or escapist scenes, encouraging readers to settle into the latest gripping story from authors such as Ray Bradbury, Donald Westlake or Arthur Miller. Fast Rewind aims to repurpose this vintage look for contemporary designers with two handwritten fonts, drawn in ink and brush, and then digitally mastered to maintain those all-important human imperfections. Included are the Regular and Alternative designs, with a complete set of uppercase and lowercase characters, along with numbers, symbols and language support. Also included are a variety of underlines and illustrations as seen in these visuals. Each style also comes with its own selection of extra glyphs to helps you achieve the perfect flow between characters and avoid tell-tale repetition. Thanks to all the great photographers who provided images for these visuals.

The Arthur Cabinet font family offers a most particular range of seven fancy ornamental fonts in the spirit of the Art Deco era. These fonts celebrate the age of elegance, stylishness and refinement to its very best. They give you a unique tool for exquisite designs. The fonts of this family are derivatives from the Arthur Sans series, which you may also want to have a look at. Use this unique typefaces for distinctive personal stationary, outstanding headlines, captivating brochures and invitations; for marvellous logotypes, wonderful menus, hotel leaflets, exciting ads … for brillant designs. Each Arthur Cabinet font features the same comprehensive Euro-Latin encoding for full language support. Additionally, every font includes a small supplementary set of fine ornaments. – For an even more comprehensive range of Arthur embellishments check out the font Arthur Sans Regular or Arthur Ornaments! Have also a look at the sister fonts of the gorgeous Arthur Sans Family, which will offer you yet another wonderful scope of fascinating typographic possibilities. ________________________________________________________________________________ Tip: Set Sample text (see below) manually to [ABCDE…] to view effectively the fonts most relevant parts! ________________________________________________________________________________

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

Publica Sans Rounded is the rounded version of Publica Sans. A clean geometric typeface, equipped with a variety of OpenType features to give you all you need for great typography: Alternates, arrows, rare currency symbols, case sensitive forms, various sets of figures and discretionary ligatures. Publica Sans Rounded has two other sisters: Publica Play and Publica Slab Take a close look at our gallery (especially ‘OpenType Features 1–6’) to discover the versatility of Publica Sans. Alternates Give your typography a certain spin with the variety of alternate letters provided. Currency You need to set prices in exotic countries? No problem: Publica Sans gives you loads of rare currency symbols. Case Sensitive Forms Sometimes you write in all caps and there are some symbols (e.g. brackets) that need some extra treatment to make it look perfect – that’s what case sensitive forms are for. Figures Publica Sans provides 6 sets of figures, like lining, tabular, oldstyle, numerators ... Discretionary Ligatures Ligatures can make your logo or headline look spicy. So there are plenty of them.

Organic versus geometric are two different universes that converges on nature systems and has its reflection on this new sans serif typeface. Frambuesa is a half humanist-half geometric sans that merges decorative curves with straight lines looking for a balance. The result: a solid but somewhat romantic, nostalgic type program that go ahead harmoniously, dancing to the rhythm of a naturally imperfect melody. Frambuesa can’t hide its family genetics. Structure and proportions come from Elisetta, her older sister they so both have a really good text performance. Regular variables and italics feel comfortable in a lot of contexts and are useful for little words or big title compositions. All seven weights are carefully adjusted to achieve soft transitions between one and the other resulting in high readability levels on program combinations and complex uses. This new font family name is a tribute to Lucia’s childhood, a very happy one. Frambuesa honors this sweet intense red fruit that her grandpa’s Coco gave to his grandchildren every Sunday in the summer.

Home Style is a revival of a very old font previously thought to have been designed by Joseph Gillé in or around the year 1820, however recent evidence from France suggests that an artist by the name of Silvestre from the same time period may be the true designer of this font. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. Originally designed in France, this very decorative font was only available in uppercase including numbers. Today this font has been re-mastered and updated with the addition of a newly designed lowercase set of letters. Home Style with its diagonal or cast shadow lines breaks away from the original design which has squared off shadows. If you're looking for the original version of this font please refer to the FontMesa version named Maison Luxe. New in 2016 for Home Style is an uppercase German Double S (versal eszett), opentype features including case sensitive forms and old style numerals.

Brazilian designer Eduardo Omine designed his Beret family of typefaces in an attempt to create a warm counterpart to the clean, minimalist sans serif of the 20th Century. The most individual characteristics of Beret are the terminals at the ends of its vertical strokes. They are slightly bent", simulating a subtle flare. Like many classic sans-serif typefaces (e.g., the original Syntax and Univers), this family does not include true (calligraphic) italics. Instead, a masterful set of obliques has been created. As Stanley Morison articulated in the early 1920s and 30s, these slanted versions of the regular "roman" faces may even work better when one wishes to emphasize certain words or passages within a text. The Beret family of typefaces is suitable for numerous applications, in both text and display sizes. The following nine fonts make up the family's design: Beret Light, Beret Light Italic, Beret Book, Beret Book Italic, Beret Regular, Beret Medium, Beret Medium Italic, Beret Bold, and Beret Bold Italic. Beret was awarded an Honorable Mention in the 2003 International Type Design Contest, sponsored by the Linotype GmbH."

Developed from the STP Display Cyrillic, the STP Stencil Cyrillic Typeface follows the same characteristic premise as its sister, in addition to composing the same number of Cyrillic and Latin characters. What distinguishes them it’s that the STP Stencil Cyrillic can be applied more easily anytime, anywhere, increasing the possibility of being used in a more craft and artistic way. Since it has characteristics of a stencil font, it brings a more urban and contemporary look, which makes ideal to use it in public spaces with large circulation of people. In addition, wayfinding, architectural, advertising, packaging, posters, among others projects, are a good request for STP Stencil Cyrillic show its vigor and all its beauty. The STP Stencil Cyrillic is a modular feature source, perfect to use it in major event signaling projects or similar. It can also be useful in any demands that requires improvisation and quick solutions. The STP Stencil has very expressive forms and counterforms, but still counts with the practicality of a stencil source and its infinite possibilities of use.

Fifteen hundred years from now, a man will be selected to go back in time to prevent a catastrophic event which turned his world into a dystopia. Sent back in time, he was enveloped in empyrean fire, the strands of energy that make up time itself. Crash-landing near Astro City in late 1985, he learned how to master and channel the empyrean forces that had suffused his body -- finally learning to control his powers in time to prevent the destruction of the Space Shuttle Challenger, the event he had been sent to avert. He described himself to journalists as nothing more than "a Good Samaritan", and has continued to help his fellow man in Astro City ever since. John JG Roshell has also been struggling with the empyrean challenge of fitting all of Kurt Busiek's Astro City dialogue into balloons with the regular Samaritan font, so he created the Samaritan Tall font to help his fellow comic book letterers! It's kinda the same thing really. See the families related to Samaritan Tall: Samaritan &

Poetica font was designed by Robert Slimbach in 1992 with particularly generous characters. The typeface family consists of 21 weights to allow for an unusual variety of design possibilities within one typeface family. Numerous swash letters, ornaments and ligatures remind one of the early Renaissance and its unforgettable masters, for example, Giambattista Palatino, who later gave his name to Hermann Zapf's creation. Slimbach used the Lettera Cancellaresca as a model for his typeface, the cultivated humanistic italic which later served as a point of departure for the development of italics of the Renaissance and thereafter. Lettera Cancellaresca is very legible, extremely harmonic and impressively beautiful. The early forms display two different compositional tendencies, namely the static of the simple vertical capitals and the italic dynamic of the slanted lower case alphabet, as shown in the weight Chancery 4. The capitals later conform to the slant of the lower case, as shown in the weights Chancery 1-3. Poetica font should be set according to the included suggestion in order to see the full benefit of its grace and beauty.

Diaria started as a project in Typeface Architecture for Master in Advanced Typograghy at EINA, Centre Universitari de Disseny i Art de Barcelona, a course tutored by Laura Meseguer and Íñigo Jerez Quintana. Later it has developed into Diaria Pro, an extensive typeface including Cyrillic script, small caps, and various OpenType features. Diaria Pro is a low-contrast serif typeface designed as a primary text face for the newspapers. Its large x-height and static exteriors allow comfortable reading in narrow columns, and calligrafic counters as well as dynamic serifs add humanist detail to overall perception and incline contrast axis without affecting interletter counterforms. Besides extensive language support, Diaria Pro includes various OpenType features: ligatures, discretionary ligatures, small caps, 6 sets of digits, superiors, inferiors, fractions, ordinals, upper-case punctuation, and some language-specific features. Diaria Pro also has a sans-serif companion - Diaria Sans Pro. Some of the styles of Diaria Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Molde is a super sans serif font family, belonging to the neo-grotesque style. Formally, Molde was inspired by the extreme sobriety of famous post-Bauhaus Swiss Movement of the mid-twentieth Century. The masters of this style are famous for eliminating all the ornaments, as a brilliant mind said “Ornament und Verbrechen”(Ornament and Crime) as a creation law: ending up with only the essential. Thanks to the purity of its shapes, Molde spreads the message as clear as possible and this quality makes it much more versatile than any other typography. Molde can be therefore used in all types of designs, If we consider its personality and its amount of weights and widths. Molde is composed of 6 widths ranging from the tablet to the expanded and in the set of characters includes a Unicase version and a small caps version. The family is composed of 3 parts: the regular version, the italic version and the reverse version. Each one of them has 9 weights. Each weight has 649 characters and it has been thought for 219 latin languages.

Cloveron Media unveils its first serif font that goes beyond the formal nature of typography. It celebrates the artistic expressions of graphic designers within themselves. The Name Mary Anne Remulla is the Master Designer behind the Enchanter Font. She aims to make graphic designers filled with delight and enjoy typography with its extensively artistic alternates and multilingual characters. The Font Style The serif style, known for its formal touch to typographic design, infuses the font with its professionalism as its regular. Using its middle alternate adds a hint of unique touch without losing the serif style's essence. The Enchanter font's start and end alternates are the designer's illustrations of design balance, which elevates its charm and enticing nature that adds to its overall artistic power. "I am fascinated by art and so by design. A font with alternates was my great revelation that I can do typography artistically, enthusiastically, and with freedom. I later found myself fascinated and lost in paper space, which then ended up that I completed my first font creation with extensive alternates for each letter." - Mary Anne Remulla

Iridium™ was designed by Adrian Frutiger in 1972 for Linotype. It is in the modern" style like Bodoni or Didot, in that it has the sparkle created by a high thick/thin contrast and a symmetrical distribution of weight. But the sometimes harsh and rigid texture of the modern style is tempered by Frutiger's graceful interpretation. Iridium itself is a very hard, brittle and strong metal; yet the Latin and Greek roots of the word mean rainbow, or iridescence. And indeed, this font is infused with a more lustrous and complex spirit than the average rather stark modern typeface - note the stems that gently taper from waist to serif, the nicely curved ovals of the round characters, and the slight bracketing of the serifs. Iridium was originally designed for phototypesetting, and Frutiger himself cut the final master photo-mask films by hand. This digital version has all the craftsmanship of that original and includes the roman, a true italic, and the bold weight. Iridium works particularly well for book and magazine text and headlines."