Saint Amour Script is an elegant calligraphy font that will look awesome on wedding and event stationery, logos and branding materials, cards and so on. Saint Amour Script includes Uppercase and Lowercase Cyrillic and Latin Basic Characters, Numbers and Punctuation. Also the font contains ligatures and stylistic alternates to perfectly re-create natural calligraphy. Saint Amour Script supports Latin & Cyrillic alphabets giving a huge range of language support.

Urbancat is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Urbancat family consists of 8 fonts, divided into 4 subgroups (according to the type of style - St, Rg), and have the 4 types of thickness in each subgroup. Urbancat fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

Fozzy is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. Fozzy family consists of 9 fonts, divided into 3 subgroups (according to the type of style - St, Rg, Op), and have the 3 types of thickness in each subgroup. Fozzy fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

In 1903, the typeface family Alternate Gothic was developed for ATF (American Type Foundry) by Morris Fuller Benton. It was Benton’s intent to solve many diverse layout problems with the development of a narrow Sans with different width values. The Alternate Gothic enjoys great popularity to this day. Therefore, Elsner+Flake re-worked the typeface family, added all European fixed accents and complemented it with an Antique version.

Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms.

The dreams that you dare to dream really can come true when you perk up your headlines with this re-imagining of Saul Bass's 1982 glitzy Deco classic, Rainbow Bass. For best results at large sizes, choose the TrueType version, rendered at a full 2,048 UPM. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

I come from a family of educators- my mom, husband, stepmom, brother-in-law, and sister are all currently teaching and I have taught in the past. This font was created after speaking to several elementary school teachers who were struggling to find just the right font to use on worksheets and projects in their classroom. They liked many features of other fonts, but needed small things altered in order to make a "perfect fit" for their class. Hand-drawn by me, this font hopefully addresses several of those issues. As penmanship styles vary across the globe, I am sure this font will not work in every classroom. But hopefully this style will work for many teachers to give their early readers a highly legible, neat, accurate font. It is best used with kerning turned on to allow for accurate letter spacing.

Graffiti is all repetition. Style, like brand logos, makes the repetition more recognizable, but style should never keep you from reading the word. Chanse Fresh was a project to make a handstyle font that wasn't self-concious and overworked - the font is clearly readable and fresh AF. Round is the base font with a thin version to create hierarchy or for longer pieces of text. Both round and thin have a "wet" drippy mop tag version best for key text. The font is all caps with alternates, so you can sub in capitals as needed with repetitive letters to change things up. There's a full latin alphabet so you can type all the words with accent marks natively and a ton of discretionary ligatures and accessory glyphs like arrows, stars, and crowns to make your lettering extra fresh.

Based on ten characters found on the cover of a 1960s Blue Note jazz album. The source characters were originally designed for film-based typesetting by Wayne Stettler as part of a single typeface published by Visual Graphics Corporation (VGC) under the name Neil Bold. Mobley Sans, along with its condensed and serifed counterparts, constitute a brand new typographic whole molded around the original inspirational source. The family embodies the independent creative spirit of that era - yet manages to remain contemporary with several modern design traits - creating its own unique visual theme through the use of odd counters, generous curves and sharp corners. Mobley delivers your message in a bold, yet friendly, and subtly discerning fashion. Perfect for music artwork, packaging and book covers. Available with both sans and serif versions, in regular and condensed widths.

A funny look with the spirit of the radio’s golden age, RadioTime is a typeface based on the handwritten alphabets of the ’30, ’40 and ’50. RadioTime comes with two styles: Regular and Tooled, in standards connected letters to imitated continuos handwritting and it’s provided with specials characters like swash, terminals, lower case numbers as well as an unlinked set of characters. RadioTime comes also with a wide kind of icons and ornaments. All this features provides the Word with the fun spirit and speed of those times of bustle. Radio Time was a winner in "Tipos Latinos 2010", The Fourth Biennial of Latin-American Typography. RadioTime Icons offers a thorough and well drawn vintage collection of 63 icons that tells the story of the glory days of radio, charts, dials, automobiles, airplanes and people who set the mood of those days.

Rigatoni is a didone display family with exceptional readability. Based on a German mid-century lettering specimen by Nerdinger, designer Alejandro Paul expanded the face into an extensive family, with 5 weights, italics, and a 2 weights stencil version. Its tall letterforms and sturdy serifs give it a noble bearing when set in all caps; in the lower case its large x-height and spacious counters imbue it with a welcoming tone. A plethora of alternate and swash characters let you create distinctive settings for identities, labels, titles, and headlines. Use the shorter ascender and descender variants for aesthetic effects, or to prevent collisions in tightly stacked text. Since we've imagined Rigatoni being used for restaurants, menus, and food packaging, Sudtipos asked to designer Esteban Diácono to create some 3D visualizations. Ale’s type has never looked saucier!

The Mutamathil type family is the mid-size member of the Mutamathil type style. It has only one glyph for every basic Arabic Unicode character or letter. With each glyph being semi-symmetrical around its vertical axis, this family is mainly suitable for right to left ordering. The Mutamathil family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand alone isolated glyphs. The Mutamathil Taqlidi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Somewhat extravagant and yet quite useful? Yes, absolutely. Meet Salted family: two awesome styles and a way cool picture font. Deliberately free-spirited, Salted – the Regular, yet regular is not quite an appropriate adjective for it – brings alternates and also discretionary ligatures that completely transform the font mood, adding unexpected touches of cursive script here and there and thus creating sort of a wild feel. Salted Sweet also brings alternates: 3 for letters, 2 for digits, and is way more even-tempered than it’s playmate. By the way, they play truly nice together. Enter the picture font and the team is complete for an exciting time. It’s said that the cure for anything is salt water: sweat, tears or the sea. We totally agree. Perhaps the cure for a boring design lies in a salted font. Give it a go!

Inspired by the graphic spirit of old packaging and store signs of Portugal, this font seeks to transmit the warm and sunny sound of Portuguese language in a visual way. Portuguesa has 3 partners, designed to work nicely together and to complement one with each other. Portuguesa Script, with friendly and rhythmic personality, great for titles and short text, Portuguesa Caps, with small caps and ligatures that perfectly match (and contrast) with the script version. And Portuguesa Icons, that recalls the legendary blue tiles. This last version was specially designed to mix signs up with delightful combinations for creating patterns, borders, stationary, tableware and all kind of commercial products and projects that needs a memorable strike. The possibilities are numberless. As a mantra, Portuguesa is always in a positive mood, spreading the “Portuguese art of welcoming people”. Seja Bem-Vindo!

ITC Lubalin Graph® was initially designed by Herb Lubalin and drawn to fit the requirements of typographic reproduction by Tony DiSpigna and Joe Sundwall in 1974. Its underlying forms are those of Lubalin's previously released ITC Avant Garde Gothic, but its shapes were modified to accommodate large slab serifs. Its condensed weights, which include small caps and oldstyle figures, were later additions by Helga Jörgenson and Sigrid Engelmann in 1992. The family, with its generous x-height and overall tight fit has come to represent the typographic style of American graphic design in the 1970s. The typeface is at home when paired with mid-century modern design and spare sanses or more traditional text faces from the period. ITC Lubalin Graph covers four weights in its condensed width from Book to Bold, and five weights in its normal width.

Bourgeois Slab is built upon the framework of Bourgeois, our popular geometric type family. As with the sans-serif Bourgeois, Slab’s letter forms are thoroughly contemporary in look and feel. Echoing mid-century modernism in style, Slab’s overall look is friendly and businesslike, more expansive and expressive than Bourgeois’s pared-down asceticism. The slab-serif’s development and vigorous uptake during the early-Victorian-era Industrial Revolution, means that we endow slab-serif faces with characteristics of sturdiness, durability and trustworthiness. At the same time, we appreciate the slab-serif’s raison d’etre: They’re made to grab your attention. Bourgeois Slab and Slab Condensed when combined, offer 24 styles suited for text of all kinds and sizes. Both are particularly good for for text-heavy projects and for designers seeking a robust, authoritative-but-genial voice for branding and logo work.

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.

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."

PREFACE Lontara typeface shape is originally created by freehand technique, without modify other exist digital typeface. It purely inspired by traditional Lontara manuscript, South Sulawesi. Lontara typeface is dedicated for originality of Indonesian Cultural. ORIGINS The La Galigo that written in traditional Lontara script is widely believed by people Buginese as a bible of sacred and should not be read without a certain ritual preceded.It tells the story of hundreds of descendants of the gods who live at a time for 6 (six), hereditary generation, the various kingdoms in South Sulawesi and the surrounding islands. The Lontara script is an Brahmic script traditionally used for the Bugis language, Makassarese language, and Mandar languages of Sulawesi in modern Indonesia. It is also known as the Buginese script. It was largely replaced by the Latin alphabet during the period of Dutch colonization.

If you'd like to scream, but you have no self esteem, or you'd love to start a fight, but you're scared of the night, I made this font for you all, whether you're short or tall. Monden is wide, gentle and fun, but it wasn't born under the Sun, it was my intention to make it unique, I surely hope I didn't make some freak, it looks a bit classical, in moments maybe here and there radical, but it surely is really graphical with a dose of something magical. Want a logo, poster or any other design, but you'd rather cry and then run, even this description sounds lousy, at least it isn't so drowsy, so meet Monden family from our hood and keep your spirit in good mood, and do the things on any way you think they should.

The Lustra Text family is the next evolution of our Lustra Family, which finds its origin of inspiration in the HYUNDAI automotive company logo, and from there expands to an 8 font family of weights. Lustra Text still nods its head to the techno display styling of the inspiration logotype, but evolves its brand inspired origin from a display to a text font family that pulls on modern and historical styles like Eurostyle and Bank Gothic. This text family inherits a sturdy yet approachable geometric style with its uniform stroke forms and curves, and includes a lowercase with a Stylistic Alternate for the lowercase "a", a numerals set, and a comprehensive range of weights. This is a straightforward, powerful, and uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one example of the poet’s personal hands but also as a typical example of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s . It is a “Pro” font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.

Please welcome, White Rainbow. Fun and casual vintage retro decorative font. The definition of real versatility and flexibility. You can rock on both vibes, retro and modern by using a single font. Yes, just like your favourite day-to-day sneakers. Wide variety of Stylistic Alternates and Ligatures in every single letter to elevate your design game to the next level. Cut the process more because it should be easy. Perfectly fit for the visual project such as logo, branding, poster, food and beverages, social media content, website, UI/UX design, youtube thumbnail, CV, mood board, wedding, you name it. FEATURES Uppercase and Lowercase letters ligature and alternates feature Numbering and Punctuations Multilingual Works on PC or Mac Simple Installation Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks. Helotype

Inspired by the most common grotesque heights and boxed sans serif typefaces, Luzern Typefaces was built with low-mid contrast sans serif and was designed in quite tall caps height and lower x-height which represents the flavor of the dynamic typefaces and is subtle for the display typefaces. The typefaces comes with five weights, from light to extra bold, plus matching italics in each weights. And Luzern Typefaces is loaded with OpenType features such as some stylistic alternates in uppercase, case-sensitive forms, fractions, and another numerals features such as super and subscript characters, tabular figures, numerator-denominator, etc. It’s highly usable for display text titles such as editorial magazine headline, websites heading, poster, advertising, logo, also it works well for medium body text. It comes with more 400+ glyph support including more latin european diacritics language.

To be independent or to be dependent? The formula “one plus one is one” is here essential for this to work. The different cases, upper and lower is dependent on one another. To give us clarity they have to work together, to be like one the upper and lower cases must work together. Expedition One works best in InDesign or equivalent software. How to use it: write your text in lower case, copy the text frame and ”Paste in Place”, change your lower case text to upper case (you do that under top menu->type->change case). Change colour if you want to and maybe change the blending mode in the effects window to “multiply” makes it even more sparkling. On numbers and ampersand for example, you have to use the glyph window in InDesign to find their second half.

Consta Serif is a seven-weight typeface that wishes to express a tribute to the gracious and delicate forms of the human body. Consta is a standout display font that is a mode to Contrast Serif typography in the present day. Its elaborate curves and unique shapes make it perfect for headings, logos & wedding invitations. Consta is all class so if you want a stylish font that is guaranteed to draw the eye, then this is it! All seven weights (Extralight, Light, Regular, Medium, Semibold, Bold, Extra Bold) contain character sets that include uppercase, lowercase, numerals, diacritics, punctuation, ligatures, alternates, and symbols. Furthermore, this Human Grade Type supports more than 89 languages derived from Latin, namely Western, Central, and South-Eastern European languages, making it a perfect fit to be used either in titles or other typographic compositions.

I've been working on a usable sans serif for body copy since the mid-1990s (though I certainly did not know it at the time). This one works well. It started life back in the mists of time as a scan of an old German font by Carl Fahrenwaldt. It was developed fully as a synergized serif with strong traditional roots and released as Bergsland Pro. Now it finally makes it to where I was headed all along as a sans text font. This is a well modulated humanist, sans serif font family with many OpenType features and over 600 characters: Caps, lower case, small caps, ligatures, swashes, small cap figures, old style figures, numerators, denominators, accents characters, ordinal numbers, and so on. It is designed for text use in body copy. But it also works very well for elegantly stylized display.

Introducing Merimount - Your Ultimate Layered Overlay Font Elevate your design game with Merimount, a versatile and innovative layered overlay font that allows you to create stunning typographic masterpieces effortlessly. With three unique styles—Merimount Regular, Merimount One, and Merimount Two—this font opens up a world of creative possibilities. What sets Merimount apart is its layered design, enabling you to stack the fonts for a dynamic and dramatic effect. Experiment with different combinations and take advantage of the blending mode feature to achieve the perfect look for your project. Whether you're going for a bold and impactful design or a subtle and sophisticated feel, Merimount has you covered. Ideal for a wide range of design projects, from posters to branding, Merimount adds a touch of creativity and flair. Unlock the full potential of your designs with this must-have layered overlay font. Uppercase

Police JNL was modeled from one of the many fonts created by the late Alf Becker exclusively for Signs of the Times magazine during the 1930s through the 1950s. This was a bit of a difficult design to translate into a digital font file, because the individual characters did not follow a formal structure as to the width and length of the cast shadows or the letter shapes—such is the way of the hand-lettered alphabet. Special thanks to Tod Swormstedt of ST Publications (and curator of the American Sign Museum in Cincinnati) for providing the archival material to work from in creating this font. Police JNL has a limited character set. The basic A-Z character is on the upper and lower case keys, along with numbers, some punctuation and the dollar and cents signs.

At first glance, the lettering style of Technopen JNL seems to emulate the computer-age fonts of the 1980s. In actuality, this font is derived from an alphabet sample found in an instructional booklet for the Esterbrook Drawlet Pens. The Drawlet line was Esterbrook's answer to the iconic Speedball pen points sold through their chief competitor, the Hunt Pen Manufacturing Company. So, what seems to be late 20th Century typography is actually from vintage source material. In fact, the entire contents of the instructional booklet were copyright 1929! A few minor changes were made to the original A-Z alphabet and additional characters were added. The name Technopen is a shortening of the term 'technical pen', which is both a nod to the techno age of the 80s and the technical instruments of the past utilized for drawing and lettering.

Proud to introduce: The all hand-drawn Mila Script Pro Family Mila Script is a handmade brush script with round and soft letterforms, a low x-height and jumping baseline. Smart OpenType features care about all letterforms and choose between connected and non-connected styles. AutomaticSwashControl adjusts the swashy letters to the available white space. It’s installed within Mila’s main features OpenType Contextual-Alternates, Swashes and Titling-Alternates. Switch one on and let Mila do the rest. · Please read over the manual. It describes the family in detail. · Of course there’s a little more know about Mila Script Pro: 2600+ characters offer four different initial styles, capital swash and titling alternates, connected words, 17 different initial and terminal swashes and much more. All of course with full ISO latin 1 & 2 language support. · Mila Script Basic (900+ characters) offers all single features contained in OpenType Contextual-Alternates: subtle contextual swash alternates, positional forms, ligatures, connecting and non-connecting characters … · Mila Script Sans: Mila Script Sans is a hand-drawn/handwritten “all caps” in three different weights. Mila Script and Mila Script Sans go well together: combine them and equal the line weights by choosing Light, Regular or Bold. Always keep it way smaller than Mila Script. Mila Script Sans also works well as a standalone. It offers negative typesetting, bicolor typesetting by layering two styles and even alternates without counters. Please see the manual for instructions. · Mila Script Ornaments: Change the size and keep the line weight: activate Contextual Alternates, type a letter and add + to enlarge all swashes according to your likings. Mila Script Ornaments contains 69 different swashes and symbols, all of them available in seven different sizes, which makes a total of 483 characters. All ornaments are within easy reach and there’s no need to access certain symbols manually via your glyph palette. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Mila Script / 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Base & Bloom is an experimental (but relatively organic) fusion of geometric monoline sans and high-contrast flourish didone. It was inspired by the lack of curious modern display sans as opposed to the uprise of contemporary serifs past couple of years. The idea was to incorporate flourishes not as unnecessary elements like swashes, but as a part of letter structure, which was an especially interesting task considering it was not a serif, which potentially could give more room for that. And after all, the idea pays off by generating many inventive letterform solutions. Base & Bloom has alternates for each letter (up to 11) so you can make endless combinations to find the perfect look. It is a bold choice for posters, album covers, identity and packaging, headlines, oversize typography, and editorial design.

Balboa Plus is a condensed sans serif display family. It was originally conceived as a simple black and white typeface. But it seemed unfinished, begging for something more. I decided to try adding a couple layers of fill and detail to try and make it interesting. The result is this four-layer chromatic font family. The Primary Font is the Main Font. The other fonts ( Fill, Inline, and Gradient) only exist to support the Primary Font. The Fill font should sit behind the Primary font (there is a little color trapping going on). The rest is even easier. There is a free downloadable PDF Balboa User Manual in the Gallery section for this family. It has samples and some backstory. Balboa™ is a trademark of Parkinson Type Design.

According to Hellmut G. Bomm "Nautilus was based on a handwritten type used for the text Li. Das Helle, Klare from the I Ging. "The intention was to create a clear, highly legible typeface. While the even strokes of sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus lends the type its legibility. The characters were drawn with a broad tipped pen, and like an antiqua type, the forms of Nautilus display a variety of elements. The narrow figures with relatively large spaces between them create an overall open appearance and allow a large quantity of text to fit into a small space. "The headstrong forms of Nautilus make this an excellent display type. The italic weights are independent typefaces with hints of a handwritten character."

To see more technical details download PDF specimen document: https://peggofonts.com/pdf/PGF-Elyss-Sans_%28Specimen-2023%29.pdf PGF Elyss Sans is based on its previous family relative PGF Elyss Roman. With clean and modern lines, but preserving the original Roman style, created to be in labels, invitation, website design, digital graphics, book headlines & titles, brochures, newspaper and magazines design, logotypes, branding and corporate design and much more. In seven weights with more than 900 glyphs each, and ready for more than 200 languages. Including: Standard and Discretionary Ligatures Contextual Alternates Scientific and fractional forms Lining, OldStyle and Tabular figures (Numerals, Mathematical operators and Currency Symbols) SmallCaps (alphabet, numerals and symbols) Social Network & Letter alike symbols Localized language customization (for Azeri, Crimean Tatar, Tatar, Kazakh German, Dutch, Polish, Catalan, Romanian, Moldavian and Turkish)

BILLIARD was born from the numerous sketches André Toet did for the design of a series of postage stamps in 2011. It’s a capital monospaced and ‘fun’ alphabet, based on the classic billiard play with two white and one red ball. Actually snooker and pool were derived from this rather old sport! In Europe it used to be a sport played by elderly people, practiced in traditional bars, including the smell of beer and the at that time prevalent smell of cigarettes and cigars. These days billiard, snooker and pool are quite popular once again with young people. Hopefully our new font will get the same attention the ‘old sport’ deserves and who knows it might even be used in a sportive way. Concept/Art Direction/Design: André Toet © 2017

Saddle up and venture into uncharted typographic territory with Canyon Slab, a wild west-inspired serif slab typeface that beckons you to explore the untamed frontiers of design. Like the rugged canyons that have withstood the test of time, this font's bold serifs and sturdy letterforms exude a sense of strength and adventure. Canyon Slab captures the spirit of the old west, where legends were born and tales of grit and determination echoed through the canyons. As you wield this powerful typeface, you'll feel the dust of the trail beneath your feet, hear the echo of revolvers in the air, and taste the thrill of unbridled exploration. Channel the untamed spirit of the wild west with Canyon Slab, and let your designs ride into the sunset of creativity.

Black Ridge is a strong and rugged typeface, supplemented by its tall x-height, angled cuts, and quirky curves—all giving it a unique touch of character. It was inspired by the bold, modern, and condensed sans-serif typefaces created by typographic pioneers such as El Lissitszky, Herbert Bayer, and Jan Tschichold of the early twentieth century. This typeface is intended for display headlines and comes with a customary set of Latin characters, including diacritics, accents, symbols, mathematical glyphs, and more. Black Ridge comes in five styles—thin, light, regular, bold, and black—and supports over 80 different languages. Each weight contains a set of alternate glyphs and discretionary ligatures specially designed for better spacing and aesthetic enhancements for the more awkward character pairs such as fi, fl, rv, TY, FT, and more.

It's the Summer of Love all over again with this groovy psychedelic font. Designed in 2019, this typeface harks back to the carefree days of the late 1960s. Whimsical and offbeat with its swaying verticals, it nonetheless remains one of the more legible reimaginings of the genre, sporting all of the handlettered vibe of posters and album covers from the original hippie era, but with polished color and weight that evens out the legibility even at relatively small point sizes. Predominantly a unicase font, with a couple of alternate glyphs from upper to lowercase, Summer of Love works best as a large headline face, and benefits greatly from twisting and morphing the type blocks as was common during the original psych era. It's a real groove machine, baby.