Distressed Groovy Funky Font is a cute classic display font. It’s suitable for retro design also perfect for designing t-shirts, tote bags, hats, stickers, wedding designs, logos, cards, and more! Incredibly distinct and timeless style and use it to create spectacular designs!

Constantine - an exquisite display modern serif, inspired by classic roman arts and vintage cars aesthetics. Specially designed for luxury, clean, high-end projects, perfectly suitable for creating elegant, classy design such as magazine, social media, and more. The font features standard ligatures.

This family of fonts was created to resemble a hand written style. It is loosely based on several sources, including that of the designer. There are unique ligatures, readily found in Keystrokes on the Macintosh platform: fr, ff, ffl, ss, tr, Th.

Trendy, bold & modern style serif font for your fancy projects. Elegant and classic style on Dunsmuir font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :)

A gritty, deeply textured font where each letter was sketched by hand! Need to create an artistic, rich & friendly feeling with your text? Use Antique Dubplate. Antique Dubplate is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

Rugak is a serif typeface created by Clément Petit. This font contains 186 characters (letters/numbers/punctuation). The particularity of Rugak font is to use a circle which the recurrent size on all the characters. More information (video + animation) on www.petitclement.net/rugak

Dopamine is a friendly, flowing sans serif typeface. It works best for large headlines, particularly in packaging or editorial projects. Its most interesting feature is the flowing line across the top of many of the characters, creating smooth waves from one to another.

Betm is a geometric sans-serif font family created by Chatnarong Jingsuphatada (a Thai type designer) and published by Typesketchbook. Inspired by clean modern and, somewhat, mild geometric lines, Betm comes in 10 very useful weights along with complementary italics. You’ll love Betm!

Selectric typewriter font. The part of the large, many years project on revival and further development (over 1000 glyphs) of the 20th century’s most famous typewriter Selectric golfball fonts, lost for many decades, not being created since then in digital vector form.

Bulgatone is a handwritten font with vintage looks. It is perfect to create beautiful vintage typography on your any project like t-shirt, merchandise, logo label, poster, magazine, packaging, quotation and more. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support PUA Encoded

Cerellia is a bold script font, carefully handcrafted to become a true favorite. Its casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile. Fall in love with its incredibly versatile style and use it to create spectacular designs!

Journey of Night is a lovely and timeless handwritten font. It is the best choice for creating eye catching logos, branding and quotes. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Designal is a Félix Rufín design based on the DIN theme. The goal was to create a suitable unicase, an old dream of typographers. The icons collection —more than 400— is a result of Rufín’s obsession with label design. OpenType, 8 styles.

The concept of this letter is ‘pleasure’. The shape of the letters with the rain is refreshing. The hardness of the letters, which can tolerate a certain amount of rain, and the intensity of the strong rain create a sense of pleasure.

Wavy Rounded is a stylized sans serif display typeface by Japanese designer Hajime Kawakami. Some of the characters possess quirky features that randomly create fun visual “waves”. There is a handful of alternate characters including an old style figure set. Catch the Wave.

This is a second edition of Deedee type family, originally designed in 2011. Deedee is a geometric sans serif typeface family of ten styles with extended support for most Latin languages plus Cyrillic. Revisions in this edition included minor adjustments to glyph shapes and improved kerning tables. The typeface is ideal for use in display sizes and is quite legible in the text.

Clementine, from Okaycat, is a font designed to be expressive. First, we wanted Clementine to be uplifting, friendly and warm. Secondly, we wanted it to be familiar, but neither staid nor boring. To make Clementine more warm and friendly, 90 degree corners and cubic forms were not allowed. All straight edges are either subtly curved or lightly tapered (with the small exception of the serif foundations, to create a secure base). To add an uplifting feel, all tapering flows towards the apex of the forms and the ascenders were allowed extra rising freedom above the capital height, similar to the effect intended in the architecture of old European churches -- to point all elements gently upwards towards heaven. To keep Clementine familiar, traditional type setting shapes were used throughout the font. To avoid the usual coldness of typical typewritten fonts, all forms were opened up, calligraphic touches were introduced, and any unnecessary serif elements were omitted. The result is a look that brings a touch of nostalgia or a "retro" feel. Clementine is highly appropriate anywhere a soft and friendly feel is desired. Can work well as a body text, or as ad copy. Clementine is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose. The family does not contain a roman, and instead promotes the italic as a primary style, a common printing convention in the 16th and 17th centuries. The italic lowercase predates inclined capitals by about twenty years, and as a nod to this typographic evolution, Alizé’s capitals, small capitals, and figures are very slightly inclined to match the energy of the lowercase. The low x-height and long ascenders and descenders, features associated with finesse and luxury, are reminiscent of the Venetian-style italic, but are further emphasised. Unlike the Venetian italic, however, Alizé has a sharp slope, giving a prominent sweep across the page (alizé is the name of trade wind). Each font of Alizé has a character set count of exceeding 700, and contains an abundance of ligatures, dynamic fractions, ornaments, and pan-European language support. They have also been manually hinted for the highest-quality display on both print and screen.

Introducing Gadion – Psychedelic Typeface A Mesmerizing Display Font Gadion – Psychedelic Typeface is your gateway to a captivating and unconventional display typography experience. With its trippy and psychedelic vibes, it breaks free from the mundane and ensures your designs remain endlessly fascinating. A Splash of Psychedelic Creativity Gadion unleashes a burst of psychedelic creativity that’s perfect for making your displays truly captivating. Its unconventional design immediately draws attention, infusing an element of excitement into your projects. Endless Visual Delights Furthermore, with Gadion, every character is a visual delight. Its swirling, hypnotic patterns and vibrant colors ensure that your message stands out in a way that’s both engaging and unforgettable. Versatile Display Possibilities Moreover, Gadion’s versatility extends beyond traditional bounds. It’s not just a font; it’s an experience. Whether it’s event posters, album covers, or promotional materials, this typeface takes your display to a whole new dimension, offering a multitude of creative options. In Conclusion Gadion – Psychedelic Typeface offers a unique and visually stimulating journey for your display needs. Say goodbye to dull and ordinary, and embrace the extraordinary with this font. Let Gadion infuse your designs with psychedelic magic that captivates and mesmerizes your audience, ensuring they stay immersed in the trippy world you create.

Frescito is a modern sans-serif typeface that embodies a fresh, cool, and street-smart aesthetic. Designed to be both balanced and versatile, its clear and legible monoline style is designed for branding and advertising in editorial and digital design. The Frescito font family comes in the five classic weights: Thin, Light, Medium, Bold, and Black, along with a Variable font for ultimate flexibility and customization, as well as Italics. Inspired by the energetic spirit of the city and its vibration, Mans Greback set out to create a typeface that would stand out against vivid moment; a type that would work in a traditional café just as well as for contemporary merchandise. The result is a font that combines the best of both worlds: an air of freshness and modernity with an unpretentious, timeless and classy appeal. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Encore Sans Pro is a sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details. Encore Sans Pro has received 3 international awards and distinctions including a Silver at the european ED Awards 2010. This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Furthermore, it is extremely versatile. It comes with 22 weights and supports simultaneously Latin, Greek and Cyrillic. Each font contains 1535 glyphs and is loaded with 22 advanced OpenType features. Extreme weights, such as the elegant hairline, are carefully designed to establish an even color throughout, while ultra black despite its heavy characteristics is quite legible and powerful. Other intermediate weights such as light and book are ideal as body text for magazines and catalogs. Every font in this series has been completed with 270 copyright-free symbols, for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!

Arkaim is a modern typeface in traditional East-Slavic and GreatRussian style in typography. This style is not like any other style in the world. It combines elegance and brevity, depth and modernity, originality and convenience. This unique font is certainly eye-catching. Arkaim font is named after the ancient Slavic-Aryan city located in the South of Russia, which is a symbol of antiquity, wisdom, as well as the unexplored ancient world. Arkaim is not only a historical place, but also a place of Spiritual power. The font Arkaim has many Opentype features that will help to create interesting and unique compositions. An interesting and non-trivial solution is a kind of mixture of all caps and upper/lowercase characters. Arkaim contains symbols of all Slavic and European languages. There are fractions, superscripts and subscripts, and many others. There is a standard number and the old-style number, also Slavic numbers. There are all the historical characters Of the ancient Slavic script called Bukvitsa, today mistakenly called Cyrillic. In addition, here is a free demo font (only with Russian, Belarusian, Ukrainian, Bulgarian, Macedonian and Serbian characters) without Opentype features and other symbols. You can try it.. and love it.

Yekow is a typeface with a Japan Style motif, making it ideal for projects that require a distinctly Japanese and Asian aesthetic. This font’s elegant and unique design will add an authentic and appealing vibe to your work. The Yekow font family includes a wide range of characters inspired by traditional Japanese characteristics, combining beauty with a contemporary touch. Each character is rich with delicate and vivid features, creating an enticing environment and exuding Japanese culture’s charm. You may add a genuine and distinctly Japanese ambiance to your advertising materials, posters, websites, and other projects by utilizing the Yekow font. This font will make an immediate impression and capture the attention of potential customers. Make your project stand out by using Yekow as the main typeface. With its rich detail and distinctiveness, this typeface provides a spectacular visual experience. Get on Yekow and take your designs on a memorable cultural tour. What’s Included : - File font - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

This delicious font family takes its name from the tastiest of Piemonte’s specialities. It has been designed in collaboration with Turin-based calligrapher and artisan Andrea Tardivo. Piemonte soil provides the most delectable hazelnuts, which are the key to creating a mouth-watering chocolate spread called Gianduja. This popular delicacy has a rich graphic history, with lavishly designed packaging. We sought to infuse the sweetness and tradition of Turin’s confectionary into a new font family, reinterpreting Italian models from the first quarter of the last century. All fonts were crafted by hand on paper first and then digitised in a way that retains the handmade quality and aesthetic. This family blends the Turinese touch from the old chocolatiers and the beautifully printed foils they use to wrap each exquisite creation. The extensive display family contains; Gianduja Sans a geometric font based on examples found in Italian art deco era artworks. Gianduja Script has been handwritten with a speedball pen following the standards of “Bella Scrittura” and Gianduja Capitals is a decorative font inspired by the “liberty” lettering signs from Piemonte. To complete the suite we developed an inline Capitals version, a set of icons and decorative elements all with the same handmade characters to perfect partner with each character set.

Idiom is an extra-condensed, tightly spaced display face with congruent forms exuding a strong sense of rhythm and elevation. The basic stenciled geometric shapes are reminiscent of the decorative style found with P22 Albers and Futura Black. Careful consideration of each letter's construction, relative to all characters, lends Idiom a decided sense of cohesion and sophistication. The included non-traditional 'weights' (Medium and Bold) are completely blacked out, creating entirely new letterforms that exhibit a very stark, contemporary sense. Increasing the versatility of the Idiom family, a selection of OpenType features allow access to a set of contrasting linear punctuation forms, unconventional ligatures, case-sensitive punctuation and more. Features include: Basic Ligature set including 'f' ligatures (ae, oe, fi, fl, ff, fh, fj, ft, fa, ct, st, rt, ot, ta, sa, mi, si, vi, su, oc, oo, ru, ib) Alternate characters (M, W, T, ß, _, $, @, (), {}, [], /, \, |, -, –, —, +, -, ±, ≤, ≥, , «, », and more) Case forms (shifts various punctuation marks vertically to a position that works better with all-capital sequences, in this case the numerals or letters with ascenders) Slashed zero Full set of numerators/denominators and superscript/subscript Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Saint Bartogenia is a handscript font that elegantly bridges the gap between handwriting and formality. Exuding a beautiful and lovely aura, this font is a perfect choice for wedding invitations and other elegant stationery. Its script form is both classy and fine, mirroring the artistry of traditional calligraphy with a modern twist. The thin, delicate lines of Saint Bartogenia create a sense of sophistication and grace, making each character swirl across the page like a light wind. Use underscore _ anywhere in a word to make a swash. Example: Ele_gant Use multiple underscores to make longer underlines. Example: Wonder___world The font is built with advanced OpenType functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Saint Bartogenia is a manifestation of Mans Greback's commitment to combining aesthetic beauty with practical usability, making it a go-to choice for designers seeking to infuse their projects with a touch of finesse.

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.

Art into type In 2008, Fontsmith were approached by their friend, Jon Scott, to investigate whether a typeface could assume the aesthetic of one artist’s body of work. Jon’s not-for-profit charity, Measure, was organising an event for the artist, Conrad Shawcross, whose giant mechanical installation, entitled Chord, was going on public display in the long-disused Kingsway tram tunnel in Holborn. Chord explores the way we perceive time, as either a line or a cycle. Two enormous machines with dozens of rotating arms and moving in opposite directions, weave rope with almost infinite slowness. An unusual brief Phil Garnham visited Conrad in his Hackney studio to get a feel for his work and ideas. “Conrad is a very clever and philosophical guy. He struggled to see how typeface design had any relevance to him and his art. This was going to be a challenge.” The artist presented the type designer with a pile of rope and a huge diagram of sketches and mathematical workings. “This was, in essence, my brief.” Phil developed three concepts, the simplest of which ticked all the boxes. “The idea of the strokes in the letterforms appearing and ending at peaks or points of origin fitted perfectly with Conrad’s idea of time occurring and ending at two ends of the sculpture.” Two versions Phil planned modules for two versions of the typeface: one with five lines in the letterforms and one with seven. He then drew the modules on-screen and twisted and turned them to build the machine that is FS Conrad. “This is not a simple headline typeface,” says Phil. “It’s not a rigid structure. It has varying character widths, and it’s informed by real typographic insight and proportions so that it actually works as piece of functioning, harmonious type.”

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

Night Train is a new font built from the ground up; while Night Train may resemble an old classic wood type there are a few lines that make this font a little more modern setting it apart from other wood type revivals. If you're a railroad enthusiast you're sure to enjoy the steam locomotive graphic located on the less than and greater than keys on all versions of this font, due to the fine detail of this train illustration the best printing results will be at 600dpi or higher on a laser printer. An alternate K and R are within the Night Train fonts, for Win Type1 these alternates are on the left and right bracket keys, for Truetype and OpenType you may access the alternates by using the Character Map in Windows or Adobe Illustrator, for OpenType you may also find them on the stylistic alternates page of the glyph map in Illustrator. There's something new with Night Train that the sign making people will love, for the first time FontMesa is pleased to offer a block shadowed version in four directions. One fill font is all that is needed for all four open faced fonts, you'll need an application that works in layers in order to use the fill font with the open faced fonts, simply place the fill font in its own layer then move it behind one of the open faced fonts of Night Train. The Night Train name has been on my list to use as a font name for a few years, a friend from years ago used to sail his boat in the Mackinac race from Chicago to Mackinac Island, the name of that boat was the Night Train. Watching the 2010 Olympic four man U.S. bobsled team win gold with their sled also called Night Train has inspired me to complete this font.

Kilkenny is a decorative, Victorian-style font based on the metal type named Nymphic that was designed by Hermann Ihlenberg. Ihlenburg was born in Germany in 1843 where he studied art and worked for several German type foundries. He moved to the USA in 1866 and worked for the L. Johnson & Co. foundry, later MacKellar, Smiths & Jordan. American Type Founders acquired this typeface when they took over the MacKellar, Smiths & Jordan foundry and Nymphic appears in the ATF catalog of 1896. For this digital version, the character set has been expanded to include accented characters, punctuation, and currency symbols—and most everything you would expect to find in a digital font. The original metal font consisted of swash caps, upper case characters, and a “morticed” lower case, which was raised off the baseline. This mortcied form was designed to nestle inside the ornate swash caps as well as to work with the upper case. The five digital versions contained in this set are basically different configurations of these different alphabet sets, they differ as follows: Kilkenny—the original upper case version with a modified lower case that has been enlarged, shifted to align along the baseline, and given taller ascenders to give it a more “regular” appearance. Kilkenny Eureka—true to the original design with the “morticed” or superior lowercase forms. Kilkenny Swash—original swash caps with the modified lower case. Kilkenny Swash Caps—original swash caps with the original caps as the lower case. Kilkenny Swash Eureka—swash caps that have been adjusted to match the weight of the original lower case forms. The OpenType version contains all of the above, plus additional Central European and Cyrillic characters for a total of almost 1000 glyphs.

Y’all ready for this? Now starting for Insigne: the new serif Mirantz. This rookie all-star plays a precise game every game, cutting at all the right angles to leave your reader impressed and ready to see more. You can always count on Mirantz to lead with solid mechanics and a clean style, but don’t be surprised when the face keeps it real with a little individual flare and creativity. This personal touch is nothing short of elegance in every appearance. So what makes us love this rookie above the other great players in the field? Contrast, for one. Mirantz brings more contrast to the game than most serifs out there. The serifs on this face have a crisp, sharp wedge that naturally draws the reader’s eye. You can’t help but fall in love with its clean, natural style. Mirantz also features a tall x-height and regular proportions that can play a number of positions on the page and still stay strong through the last half of the copy or even the final period. Mirantz is a solid powerhouse player, containing a complete set of small capitals and nine weights from thin to bold. It can play well both down low and up top with its subscripts and superscripts and can move your reader’s eye easily across the copy with its titling capitals, condensed and extended variants, and open style figures. With its options covering more than 72 Latin-based languages, look for this newcomer to have international success in the near future. It you haven’t set your draft picks for this next round of projects, think hard before passing up Mirantz. A capable serif like this one is a guaranteed asset to any team of fonts. Production assistance from Lucas Azevedo.

The Dellgado is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Dellgado provides alternative variants of most fonts, binders and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, paragraphs, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. The Dellgado includes various language support. It features OpenType with alternative styles and elegant binders. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Regards Mova Pista

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Juan Carlos was born in Barcelona, Spain 46 years ago. Since the age of 17 – and during eleven years – he worked double shifts of eight hours every day in a factory. Excessive work and family problems debilitated his health and he lost his job. He then faced a dilemma: to spend unemployment benefits to pay for rent or for food. For a few years, he worked helping in the kitchens of different restaurants while he lived on a pension, until he was definitively left without work and ended up living in the street for 10 years. “In the street I tried to find rest in the ATMs of banks. I preferred to be alone, and if I ran into conflictive people, I looked for somewhere else” he explains. Living in the street he was the victim of an aggression. Since then, with the help of Arrels he moved into a pension. Today, Juan Carlos is a volunteer in the shower service of Arrels, the same showers he used during years. He also collaborates with the maintenance team, helps prepare hygienic and cleaning material, and participates in activities such as the theatre group and the football team.

TE Classic2 Tharwat Emara is an exquisite Arabic Thuluth font that is designed to add a touch of elegance and sophistication to any project. This font is named after the renowned calligrapher Tharwat Emara, who is widely celebrated for his outstanding work in the field of Arabic calligraphy. One of the most remarkable features of TE Classic2 Tharwat Emara is its impeccable balance between the thick and thin lines. The font's curves and strokes are carefully crafted to create a seamless and harmonious flow, giving it a unique and mesmerizing appearance. The intricacies and details of the font's characters reflect the skill and artistry of the calligrapher and demonstrate the perfect balance between tradition and modernity. TE Classic2 Tharwat Emara is a perfect choice for designers and artists who want to add a touch of Arabic culture and tradition to their projects. The font comes with a full set of Arabic characters, including ligatures, diacritical marks, and numerals. The characters are designed to be easily legible and readable, making it suitable for use in both print and digital media. One of the most striking aspects of TE Classic2 Tharwat Emara is its versatility. It can be used for a wide range of applications, from branding and advertising to editorial and publishing. Its unique and captivating design will make any project stand out and attract customers, making it a valuable investment for designers and artists. The font's exquisite design is not only limited to its characters, but it extends to its overall layout and spacing. TE Classic2 Tharwat Emara has a perfect balance between its characters' shapes and spaces, giving it a smooth and consistent look. The font's spacing is also carefully crafted to ensure that the characters are well-organized and easy to read. TE Classic2 Tharwat Emara is not just a font; it's a work of art. Its unique design and intricate details make it stand out from other Arabic fonts in the market. The font's exquisite design is a result of the meticulous attention to detail paid by the calligrapher, which is evident in every stroke and curve of the font's characters. Overall, TE Classic2 Tharwat Emara is a font that celebrates the beauty and elegance of Arabic calligraphy. Its captivating design and versatility make it an excellent choice for designers and artists who want to add a touch of tradition and culture to their projects. With its unique and mesmerizing appearance, TE Classic2 Tharwat Emara is sure to attract customers and make any project stand out.

Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era. Funk is of course little more than jazz with a chorus and an emphatic beat. Nevertheless, it became the definition of cool in the 1970s, thanks to blaxploitation movies with excellent soundtracks like Shaft and Superfly. Funk began as a commercial audio experience, then later expanded its signature to cover everything, from design to fashion to the later birth of disco, which is really a further simplification of funk. Funk had very strong and unique typographical elements, particularly a kind of titling with an essentially western, wooden core that suddenly changed and flared in unexpected areas until a very individual brand was achieved. Everything that can be tacked on to the alphabet was used towards that individuality. Things like curls, swirls, swashes, ligatures were always plentiful in funk, sometimes giving the titling a specific gender, sometimes bulging, sometimes speeding, sometimes fading in the distance, sometimes doing nothing but crazily aligning with other design elements, but the result was always a fascinating creature that seemed to invariably want to dance and have fun. Tomato was built in exactly that spirit. The original film type certainly had enough swashes and curls to be an unmistakable funk font in itself, but our further expansion of it cements it and makes it the definite font for the genre. With as many as 12 different possibilities for some letters, the designer's choices for a titling set in Tomato are virtually limitless. The Postscript and True Type versions of Tomato come in five fonts, including two fonts for alternates, one font for ligatures, and one font for swashes. These are split into two affordable packages. The entire family package is also available at an even more affordable price, and includes complimentary Cyrillic, Greek, Turkish, and Central European versions of Tomato. A Tomato Pro OpenType version is also available. It is a single font that includes over 650 characters, glued together with extensive programming for convenience of use in OpenType-friendly applications, where you can watch the letters morph and dance as you push the buttons and change the options of your OT palette. Now you know which font will come to mind when someone says the word "funky".

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.