NetHunt - Spider Display Sans Font Introducing NetHunt, a spider display sans font that is perfect for any design that requires a horror or scary look. The font is inspired by an old embossed nameplate with cobwebs in it, and the designer made it into a display font. NetHunt features both uppercase and lowercase versions, with the lowercase version not having the cobweb design. The font also includes a sans ligature feature that makes the cobwebs of each word even cooler. If you are looking for a font that will give your designs a spooky and eerie vibe, NetHunt is the perfect choice. Use it for logos, titles, logotypes, covers, headlines, apparel, comics, cover books, cards, posters, or anything else that requires a horror or scary look. NetHunt comes with a variety of features that make it a versatile font. The font includes uppercase and lowercase letters, opentype alternates and ligatures, and multilingual support for a wide range of languages. The font also includes number, punctuation, and symbol glyphs. The font can be used on both Windows and Mac operating systems and is compatible with most design software, including Adobe Photoshop, Illustrator, InDesign, and more. If you want to add a spooky and horror touch to your designs, NetHunt is the font for you. It is perfect for Halloween designs, horror movie posters, or any design project that requires a unique and scary font. Use it for your next project and see the difference it makes! In summary, NetHunt is a spider display sans font that is perfect for horror and scary designs. It is inspired by an old embossed nameplate with cobwebs and features both uppercase and lowercase versions. The font includes opentype alternates and ligatures, multilingual support, and number, punctuation, and symbol glyphs. Use NetHunt for your next design project and add a spooky and eerie vibe to your designs. Tags: spider, display, sans, horror, scary, Halloween, movie poster, logo, title, logotype, cover, headline, apparel, comic, books, cards, posters, opentype, ligatures, multilingual, glyphs.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

If you’re looking for a typeface that will add a little extra pizzazz to your message, look no further than Shookup! This curly, springy font is the perfect way to inject some fun and casual humor into your designs. With its lively, bouncing letters, Shookup is guaranteed to catch the eye and put a smile on your readers’ faces. But don’t be fooled by its playful appearance—this typeface is also highly functional and versatile, making it a great choice for a wide range of design projects. One of the most unique features of Shookup is its automatic jumbling of letters and numerals in OpenType-aware programs. This gives the typeface an even bouncier, more dynamic look that’s sure to make your message stand out from the crowd. Whether you’re designing a magazine spread, a social media post, or an eye-catching poster, Shookup is the perfect typeface to help you convey a sense of joy and fun. So why not give it a try and see how it can take your designs to the next level? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

Plumage is somewhat unusual in that it has elements of calligraphy as well as script in a semi-loose form that gives it a pleasing appearance for both large and small sizes, and interesting flare finish strokes add to its unique character. As I read a dictionary description of "plumage", I realized that in many ways there is a parallel between a bird's plumage and how it is utilized in the context of writing: Plumage varies in pattern and arrangement for different purposes; what it expresses can of course be even more interesting. Plumage is disposable after a season, as new ones become available... imagine, a self-sustaining quill! - I guess that's equivalent to a refill or disposable pen. Historically, quill pens were made from feathers of a variety of birds, each chosen for its special characteristics. The sturdiest and most reliable feathers, however, come from turkeys, swans and geese. Feathers used to make pens are the stiff-spined flight feathers on the leading edge of the bird's wing. Pens for right-handed writers come from the left wing, and pens for left-handers, from the right! Each bird yields 10-12 good quills, and sometimes only 2 or 3 - so small a yield that the geese reared in England could not furnish nearly enough for local demand, and quills were imported from the Continent in large quantities. At one point St Petersburg in Russia was sending 27 million quills a year to the UK. It is said that geese were specially bred by US President Thomas Jefferson (1743-1826) to supply his own vast need for quills - in his lifetime he wrote almost 20,000 letters. The name "Plumage" was selected to pay homage to the noble birds that supplied countless quills for centuries of literary works. Plumage is recommended for any formal or informal invitation, decorations, awards, poetry, plaques, etc. We hope you will have the pleasure of using Plumage.

Are you ready to unleash your wild side? Look no further than Duality, the tough and eccentric display typeface that will add a truly unique and unforgettable flair to your message. These fonts are not for the faint of heart—their wild slab-serifs and insane ball-terminals will make your text stand out in a sea of bland and boring fonts. Choose from three different styles to make your message truly pop. The regular style is perfect for making a bold statement, while the gritty Sand style adds an extra layer of texture and edge. And if you really want to make a statement, go for the letterpress Steel style—its rugged, industrial look will make your text look like it was stamped onto the page with raw, unbridled power. Whether you’re designing a poster, a logo, or anything in between, Duality is the perfect choice for anyone who wants to inject some wild, untamed energy into their typography. So go ahead, embrace the madness, and let Duality take your design to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

Step into the world of Skirt—the rounded sans-serif typeface that exudes style and sophistication. Skirt’s fluid forms will elevate your text with a playful yet elegant rhythm, while its cute strokes and delightful letterforms will add a unique touch to your message that is sure to turn heads. With three weights and italics to choose from, Skirt is versatile enough to be used for anything from fashion editorials to high-end branding. Its rounded ends give it a softness that’s perfect for creating a welcoming and approachable vibe, while its bold strokes make it stand out with a confident and modern appeal. Whether you’re crafting a brand identity for a boutique fashion label or creating eye-catching graphics for your latest editorial spread, Skirt will help you make a statement. This is not your average font—Skirt is an individualist with a lot of character, and it’s ready to add some serious style to your next design project. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing "Korge", a captivating and versatile retro bold slab serif font that seamlessly marries vintage aesthetics with modern functionality. With its bold design, serif form, and a trio of regular, rounded, and extruded versions, Korge offers a wealth of creative possibilities for your design ventures. Korge is a font that transports your projects back to the golden eras of design. Its bold and distinct serifs evoke a sense of nostalgia, lending your creations a classic and enduring appeal. Korge provides not one, but three distinct styles to choose from. The regular version exudes a commanding presence, while the rounded variant softens the edges for a more approachable feel. The extruded version adds depth and dimension, giving your text a 3D, eye-catching quality. Korge is a font that speaks the language of design across borders. With its multi-language support and PUA encoding, it ensures your message resonates with audiences from diverse linguistic backgrounds. From logo design to branding, packaging, posters, and beyond, Korge adapts seamlessly to a wide array of design projects. Its bold slab serifs demand attention, making sure your message is delivered with both authority and style. Korge invites you to embark on a journey of creative exploration. Craft memorable headlines, iconic logos, or striking signage – this font is your canvas for pushing the boundaries of design. With Korge, the possibilities are limitless. Its vintage-inspired bold slab serif design, multi-language support, and versatile styles make it the ideal choice for designers seeking to infuse their projects with timeless charm and contemporary appeal. Get ready to bring your visions to life with Korge, where classic meets cutting-edge. ——— Korge features: A full set of Uppercase & Lowercase letters Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +237 Total Glyphs Rounded Style + Regular Style Extruded Style Korge Includes: Korge Regular Korge Regular Extruded Left Korge Regular Extruded Right Korge Regular Extruded Left Italic Korge Regular Extruded Right Italic Korge Rounded Korge Rounded Extruded Left Korge Rounded Extruded Right Italic Korge Rounded Extruded Left Korge Rounded Extruded Right Italic

Introducing Rimouski, the rounded geometric typeface that brings a touch of refined elegance to any design project. With its perfectly crafted letterforms and soft, precise points, Rimouski adds a sense of sophistication that is hard to come by. One of the unique features of Rimouski is its OpenType “stylistic alternates” function. This allows you to generate a variety of oddly angled characters that add a quirky twist to your design. The result is a typeface that is not only geometric, but also dynamic and playful. Rimouski is available in five different weights and italics, making it a versatile choice for any project. Whether you’re creating a logo, designing a website, or working on a print project, Rimouski will bring a touch of class to your design. So if you’re looking for a typeface that combines geometric precision with a refined appearance, look no further than Rimouski. Its unique letterforms and distinctive style will make your project stand out from the crowd. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Letta Rillok Cyrillic font is a handwritten calligraphic signature script font paired with additional symbols font with extras. It is the font pair with will be the best option for branding, logos, wedding invitations, social media, packaging, business cards, DIY projects, social media, and many others. Letta Rillok Symbols is the font with 62 lovely hand-drawn flourishes and illustrations. Letta Rillok script Latin part contains a full set of uppercase letters and 3 full sets of lowercase letters, (standard, initial, and final forms with flourishes or teils. To make a needed form type a letter with a number such as a1, b1, c1...after that select the word and apply the Open Type Features in programs such as Adobe Illustrator, Photoshop, and others) And 53 ligatures can be used to create a handwritten calligraphy look. The Cyrillic part of the font contains uppercase letters and 3 complete sets of lowercase letters, (standard, initial, and final form. To make a needed form type a letter with a number such as a1, б1 в1... After that select the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) Letta Rillok Symbols is a font with over 36 hand-drawn elements, floral illustrations, and swashes and can help to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Letta Rillok Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Multilingual Support for 33 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages.

Steinweiss Script began its journey towards daylight when Michael Doret was asked by Taschen Publishing to do cover lettering for the huge commemorative edition they were putting together on the work of Alex Steinweiss—“The Inventor of the Modern Album Cover”. The lettering was to be created to appear similar to the famous “Steinweiss Scrawl” the calligraphy that Steinweiss had used on countless album covers. While designing this piece of lettering, Michael realized that there was great potential for a font that was designed in the spirit of that famous “scrawl”. Through his contacts at Taschen Publishing, he was fortunate enough to be able to contact the Steinweiss family, and get the official Steinweiss approval to proceed with his “Steinweiss Script” project. Michael decided that in addition to giving the font his name as an homage, that he would donate a portion of the proceeds from the sale of this font to the man himself: Alex Steinweiss. Read more about the background of Steinweiss Script in Steven Heller’s article in Imprint. Steinweiss Script is a family of fonts in three weights: Light, Medium, and Bold. Additionally, within each weight there are three variations: Simple, Fancy, and Titling. These variations relate to the size/ratio of the caps to the lowercase, the complexity of those caps, and the size of the ascenders/descenders on the lowercase characters. These variations add usefulness to the font, making it accessible not just for headlines, but for longer passages of text as well. For a better understanding of its unique features please download The Steinweiss Script Users Guide from the Gallery section. PLEASE NOTE: the three Steinweiss Script fonts are cross-platform fonts which depend to some extent on certain advanced OpenType features, therefore they can be used to their full potential only with programs that support those features. When setting Steinweiss Script one should almost ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

Welcome to the world of Edifact, a damaged display typeface that’s here to shake things up! With its roots in the magnetic ink lettering of the 1960s, this typeface is all about breaking the rules and forging a new path forward. But Edifact isn’t just any old font. Oh no, it’s so much more than that! With OpenType ligatures, you can unlock a world of custom combos that will bring a whole new level of realism to your work. And let’s be honest, who doesn’t love a little bit of extra pizzazz? But the real magic of Edifact lies in its unique blend of retro-futurism and post-apocalyptic roughness. This typeface isn’t afraid to get its hands dirty, and it’s not afraid to take risks. With Edifact, your message will stand out from the crowd and grab your audience’s attention like never before. So don’t be shy—embrace the wild, post-apocalyptic world of Edifact and let your creativity run wild! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

Looking for a typeface that’s full of life and energy? Look no further than Amienne! This charmingly informal brush script typeface is perfect for all your creative projects. With a nimble rhythm that moves gracefully across the page, Amienne is sure to capture attention and add a touch of whimsy to any design. But that’s not all—Amienne also features ligatures, which means that certain letter combinations will be replaced with custom glyphs to create a more natural-looking brush flow. This gives your text a unique and organic feel that’s perfect for everything from invitations to packaging design. And with both Regular and Bold styles available, you can choose the perfect weight to suit your project. Whether you’re creating a bold headline or a delicate script, Amienne has you covered. So why settle for a boring font when you can add a touch of charm and personality with Amienne? Try it out today and see the difference for yourself! Most Latin-based European, Greek, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

In July 2014, using my light pen, I completed the work in designing the font - Nizar, which was named in honor of the great poet Nizar Qabbani who inspired millions through poetry and prose. The font depends mainly on the characteristics of the traditional Ruq'ah handwriting, but the spirit of the letters tend to embrace the distinguished style that we knew of the poet in his hand-written poetry books. Due to the fact that I could not find all the alphabets in the great poet's handwriting, I adopted the method of measurement and prediction for structure of the missing letters, Which resulted in a new style of the Ruq'ah Typeface; a closer look at the font highlights the common characteristics of all the usual Ruq'ah writings, which are the height of the character "Alef" and spaces and formation on the line, the contextual replacement and convergence of when a letter meets another, closed and open letters, letters coming down from the baseline, and the forms of dots. That been said, hidden touches in the details of Nizar Typeface can be observed, the characters are all dependent on one pen stroke thickness, and are attracted to the baseline as much as possible when vertically and horizontally formed, and the distance between words and lines grows leading to creating both an aesthetic and typographical touch distinguishing this font from the conventional Ruq'ah – which can be found in some of my previous Ruq'ah projects. It is important to mention that after the completion of the Arabic characters and punctuation, I began drawing the Latin alphabets, punctuation and necessary symbols. I cannot fail to also note that the Arabic characters include the Persian, and the Urdu characters. This Typeface is fit to be used in lengthy texts, especially in literary works, artistic print, and diverse visual display, giving the design striking features, modernity and distinction. Sultan Mohammed Saeed

“Nusaibah” is the first name of an early convert woman to Islam, and the first female to fight in defense of the Islamic religion. Her full name is Nusaibah bint Kaíab Al-Maziniyyah and she took part in the Battles of Uhud, Hunain, Yamama and the Treaty of Hudaibiyah with Islam’s prophet Muhammad (pbuh). Nusaibah is best known for her brave and heroic feat during the Battle of Uhud - fought on March 19, 625 - when she entered the battle carrying a sword and a shield to protect the prophet Muhammad (pbuh) from the arrows of the enemy, and she accordingly received several wounds while fighting and these wounds were not healed until the following year. The prophet Muhammad (pbuh) mentioned her distinct courage by saying that in whichever direction he turned in the battlefield, he could see her defending and protecting him. "Nusaibah" is a modern, geometric, and headline Arabic display typeface. The main trait of this typeface is the novel symmetrical design of its letters which renders it as one of the modern stylish typefaces used for headlines and titles. This is can be noticed in its letters such as “Theh”, “Jeem”, “Ain”, “Sheen”, and others. Moreover, “Nusaibah” font has a character set which supports Arabic, Persian, Urdu, and Latin letters and numerals with a limited range of specific Arabic and Latin ligatures. This font comes in two weights (i.e., regular and bold) with nearly 643 distinctive glyphs. Due to its geometric and linear design, “Nusaibah” typeface is appropriate for heading and titling in Arabic, Persian, and Urdu magazines, posters, and surfaces of different equipment. It is also elegantly suitable for signs, books’ covers, advertisement light boards, products’ and services’ names, and titles of flyers, pamphlets, novels, and books of children. “Nusaibah” typeface is one of the Arabic typefaces that has a novel and modern-day design which can be used in versatile graphic, typographic, and artistic works in different languages for diverse cultures.

Wedding calligraphic script font Miss Katherine Cyrillic is the best option for your wedding stationery, invitation designs, social media, branding, logo designs, product packaging and other projects. Miss Katherine Cyrillic is an elegant, graceful handwritten script font, as well as a Miss Katherine Symbols font with 36 lovely hand-drawn flourishes and illustrations. Miss Katherine script font contains the Cyrillic glyphs too. Miss Katherine script Latin part contains a full set of uppercase letters and 4 full sets of lowercase letters, (standard, alternative, initial and final forms). To make a needed form just type a letter with a number such as a1, b1, c1...after that selecting the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) And 36 ligatures - which can be used to create a handwritten look. The Cyrillic part of the font contains the uppercase letters and 3 full sets of lowercase letters, (standard, initial and final form. To make a needed form just type a letter with a number such as a1, б1 в1... After that select the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) Miss Katherine Symbols is a font with over 36 hand-drawn elements, flourishes catchwords, and swashes and can help to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Miss Katherine Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Language Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Kazakh and Ukrainian languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

The enchanting sweepy of fast handwriting of script font Buongiorno Rastellino will be the perfect complement for all your projects. The font pair Buongiorno Rastellino Cyrillic is the best option for branding, logos, social media, packaging, business cards, DIY projects, social media, and many others. Buongiorno Rastellino Symbols is the font with 62 lovely hand-drawn flourishes and illustrations. Buongiorno Rastellino Cyrillic script font contains the Cyrillic glyphs too. Buongiorno Rastellino script Latin part contains a full set of uppercase letters and 3 full sets of lowercase letters, (standard, initial and final forms with flourishes or teils. To make a needed form just type a letter with a number such as a1, b1, c1...after that selecting the word and apply the Open Type Features in programs such as Adobe Illustrator, Photoshop, and others) And 43 ligatures - which can be used to create a handwritten calligraphy look. The Cyrillic part of the font contains the uppercase letters and 3 full sets of lowercase letters, (standard, initial and final form. To make a needed form just type a letter with a number such as a1, б1 в1... After that select the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) Buongiorno Rastellino Symbols is a font with over 36 hand-drawn elements, floral illustrations, and swashes and can help to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Buongiorno Rastellino Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Multilingual Support for 32 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages.

Introducing Draghord, a bold and dynamic typeface that embodies the essence of superheroic power and adventure. This font is a visual journey into the realm of fire, swords, skulls, and wings, capturing the spirit of mighty heroes and formidable villains alike. Characteristics: Flaming Elements: Each letter of Draghord is adorned with fiery accents, reminiscent of a blazing inferno. The flames dance around the characters, conveying a sense of untamed power and intensity. Sword-Inspired Strokes: The letterforms draw inspiration from the sleek and sharp edges of legendary swords. The angular and precise strokes give the font a cutting-edge aesthetic, symbolizing strength and precision. Skull Motifs: Intricately integrated skull motifs within the font add an element of danger and mystery. The skulls serve as a visual reminder of the challenges faced by our superheroic characters, embodying both mortality and defiance. Dynamic Winged Elements: The font incorporates dynamic winged elements that soar across certain letters, emphasizing the theme of flight and freedom. These wings symbolize the superhero's ability to rise above adversity and transcend limitations. Usage Scenarios: Comic Books: Draghord is perfect for comic book titles, captions, and speech bubbles, adding a dramatic and visually striking element to the narrative. Movie Posters: Use Draghord to create attention-grabbing titles and taglines for superhero movies. Its bold and adventurous design will set the tone for epic storytelling. Gaming Graphics: Ideal for in-game text, Draghord adds a heroic touch to video game interfaces, especially in fantasy or superhero-themed games. Event Promotion: For superhero-themed events, Draghord can be utilized in promotional materials, posters, and banners to convey a sense of excitement and power. In Conclusion: Draghord is not just a font; it's a visual experience that transports you into the heart of superheroic tales. With its fiery, sword-inspired design, skull motifs, and dynamic wings, Draghord is the perfect typographic companion for any project seeking to channel the thrilling energy of the superhero genre. Unleash the power of Draghord and let your words ignite the imagination!

Step back in time to the opulent 1980s with Reagan, the typeface that embodies the spirit of the era. With its textured, vintage tee shirt aesthetic, Reagan is the perfect font to transport you back to a time of excess and extravagance. But Reagan is not just any typeface. It channels the hunger of t-shirt wearers from the era, who demanded a fanciness only Pretorian could provide. This late seventies Victorian revival burned like a chichi wildfire, spreading its flowery flame across the low-end design world for a solid decade. Now, Reagan reigns supreme as the ultimate vintage t-shirt font. Its letter pair ligatures help break up the monotony of plain repeating characters, making it a must-have. But Reagan is more than just a typeface. It’s a gateway to the past, a portal to a time when fashion was brave and uncompromising. So embrace the spirit of the 1980s and make Reagan your go-to typeface for all your vintage tee shirt needs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

Introducing Fenwick—a typeface that pays homage to Ontario’s rich heritage. With its unique take on late-nineteenth-century sans-serif typefaces, Fenwick is a perfect addition to any vintage-themed graphic design project. At first glance, Fenwick may resemble old-fashioned gothic typefaces, but upon closer inspection, you’ll notice its inspiration from once-popular serif display fonts and elegant clock digits. Fenwick’s unique design blends the best of both worlds, resulting in a timeless font that captures the essence of a bygone era. For added authenticity, Fenwick features proportional old-style numerals that can be easily accessed in OpenType-friendly applications. The typeface is available in Light, Light-Italic, Regular, Italic, Bold, Bold-Italic, and an engraved all-caps style, giving you the flexibility to use Fenwick in a variety of contexts. Whether you’re designing a vintage-inspired logo or creating a custom poster, Fenwick is the perfect typeface to add a touch of Ontario’s heritage to your project. So why not give Fenwick a try and see how it can elevate your designs to new heights? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing "Arrow Hero" - A Typeface of Elegance and Adventure Unleash the power of elegance and adventure with our latest font creation, "Arrow Hero." This unique serif font seamlessly blends the mystique of archers, the allure of elves, and the boldness of superheroes. Crafted with precision, this font is more than just letters; it's a journey into a world where every curve and angle tells a story of heroic feats and enchanted realms. Key Features: Elegant Serif Design: The Arrow Hero font boasts a sophisticated serif style that adds a touch of refinement to your projects. Each letter is meticulously crafted to exude an aura of strength and grace, perfectly suited for a variety of design applications. Illustrated Elements: Dive into the fantastical with Arrow Hero's unique illustrations. Arrows gracefully adorn each character, symbolizing precision and direction. Delicate elf ears and majestic wings enhance the overall aesthetic, creating a harmonious balance between the worlds of archers, elves, and superheroes. Versatile Usage: Whether you're working on branding, book covers, invitations, or digital designs, Arrow Hero is a versatile font that adapts to various contexts. Elevate your projects with a touch of magic and heroism that this font effortlessly provides. Tailored for Storytelling: Arrow Hero is not just a font; it's a storyteller. Use it to bring narratives to life, creating visual experiences that resonate with the mythical and the extraordinary. Let the characters on your screen or page become heroes in their own right, guided by the elegance of Arrow Hero. Multiple Styles: The font comes in various styles and weights, allowing you to express different moods and atmospheres within your designs. Whether you're aiming for a bold statement or a subtle enchantment, Arrow Hero has the right style for you. Elevate your design projects to new heights with Arrow Hero, where the elegance of serif meets the magic of arrows, wings, and elf ears. Download this font today and embark on a design journey that transcends the ordinary, celebrating the hero within every letter.

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

Roc is a sans serif grotesk inspired by American wood types from the end of the 19th century. With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications. Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings. The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space. That is why the contrast between Compressed Thin and Compressed Heavy style is substantial. As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent. It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style. Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline. The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text. Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular. Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table. The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface. The single-story g and the cut-off r are accessible via the OpenType feature.

Plakato, a stencil love affair Plakato is a family of display fonts, consisting of various eye-catching styles, each of them very bold. Plakato is an identity toolkit, a heavyweight building block in case you need a strong personality, a small stencil font family to cut out your best ideas and grab all the attention. But just as with many other creations, its outcome is as divers as its multiple origins. Plakato comes in 16 eye-catching styles. The default stencil style comes in Regular & Italic. They both have 2 variations: one version, named Plakato Stencil, automatically creates borders around the text, putting any text into a graphic stencil in this way. Another version, the extruded three-dimensional version, guarantees even more attention for your message. Next to this there is also the Inline version, which is an optical play with a lot of lines. Plakato Inline has a supportive background layer, a separate font in case you want to add a background in a different colour. Then there is Plakato Paper, a manually teared version of Plakato offering a more physical look. This small family of eye-catching display fonts also contains a Neon font, an independent design in Plakato style, which can actually be used for making neon signs due to its construction. Plakato Neon comes with its own Dingbat font for that extra flush-flush. Plakato has also been redrawn on a C64, and with all its accompanying limitations been ported back and turned into a font: Plakato Game. Also this font comes with its own Dingbat font, full of emoji’s and icons for oldskool pleasure. Last but not least there is Plakato Build, constructed out of blocks. As if that wasn’t enough, there are various dynamic versions in the Plakato Play package, which offer a whole new range of possibilities for typographic expression, with new animation and interaction opportunities.

Venice La Corla is a breathtaking serif font that embodies timeless elegance and sophistication. This typeface exudes a sense of refinement and grace that is perfect for projects where a touch of classic charm is required. Each character in Venice La Corla is meticulously crafted to provide a harmonious balance between its serifs and elegant lines, resulting in a truly remarkable font. Key Features: 1. Serene Elegance: Venice La Corla's primary hallmark is its serene elegance. The font's graceful serifs and curvaceous letterforms create an atmosphere of sophistication that is suitable for various design applications. 2. Timeless Appeal: Inspired by the romanticism of the Italian city of Venice, this font transports you to an era of classic beauty. Its timeless appeal is perfect for projects that require a touch of nostalgia and charm. 3. Versatile Usage: Venice La Corla is incredibly versatile and adapts effortlessly to different design scenarios. Whether it's a formal wedding invitation, a vintage-inspired poster, or a high-end fashion magazine, this font adds a touch of class to any project. 4. Exceptional Legibility: Despite its ornate elegance, Venice La Corla maintains excellent legibility, making it a practical choice for long passages of text as well as for branding and display purposes. 5. Captivating Details: The font's characters are adorned with captivating details, making it a true work of art. Each letter is thoughtfully designed to enhance the overall visual appeal of your design. Recommended Uses: Venice La Corla is ideal for a wide range of projects, including but not limited to: - Wedding invitations and stationery - Vintage and classic-themed designs - High-end fashion and luxury branding - Editorial design and magazine layouts - Product packaging and labels - Fine art prints - Wine labels and menus for upscale restaurants Incorporate Venice La Corla into your design projects, and you'll instantly elevate the aesthetics, adding a touch of timeless elegance that will captivate your audience.

Well lookee here: an authentically distressed "rough" version of our best-selling Cornhusker font! Standing tall as an Illinois cornfield in September, Cornhusker Rough is a faux-printed, condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & inky characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Rough is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Rough includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. Please note: Cornhusker Rough features a highly detailed, realistic inkplate texture. This font may render slowly in some applications. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

Imagine a world where typography is not just a tool for conveying information, but an art form that imbues your message with a sense of reverence and awe. That world is possible with Maqui, a postmodern industrial headline typeface that will elevate your message to new heights. With its cathedral-themed peaks and minimalist, pared-down letterforms, Maqui exudes a sense of refined elegance and social connection. The compact design of this typeface ensures that your message will be transmitted clearly and concisely, without sacrificing any of the impact. Maqui is a masterful blend of form and function, with eight different weights and italics to choose from. Whether you need a bold and powerful font for a striking headline, or a lighter weight for more delicate text, Maqui has you covered. So, if you’re looking to make a statement with your typography, look no further than Maqui. With its modern sensibility and timeless aesthetic, this typeface is sure to impress and inspire. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

There is nothing wrong with your computer screen. Do not attempt to adjust the picture. We will control the horizontal. We will control the vertical. You are about the experience the awe and mystery which is Super Chill. Super Chill Mind Control (MC) mixes super narrow letterforms with gothic inspiration, lulling you to sleep and also given you a freak out! The font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Stylistic Opentype Alternates to avoid letter crashing - Fun dingbats all sorts of nefarious purposes - Western Europe language support Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

Introducing Wyvern—the sans-serif typeface that exudes professionalism and precision. With its high x-height and short descenders, Wyvern is a true testament to the vintage typewriters and daisy wheel printers that inspired its creation. Its sleek and compact design boasts clean edges that give it an open and vibrant appearance, perfect for businesses looking to make a brave statement. But it’s not just its appearance that sets Wyvern apart—its italics are a testament to its strength. With angled stems and altered stem widths, Wyvern maintains a dynamic and natural appearance without the use of cursive forms. This makes Wyvern ideal for businesses that want to convey a sense of innovation and forward-thinking. Wyvern comes in seven weights and italics, providing a range of options for businesses looking to make their mark. Whether you’re creating an audacious new brand identity or refining your existing design, Wyvern is the perfect choice for designers that want to make an impact. So why wait? Experience the power of Wyvern today and take your design to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Step right up, folks! Introducing Budmo, the font that’s always ready to party! This jubilant display typeface is inspired by classic light bulb marquee sign lettering and is perfect for all your festive needs. Whether you’re sending out dance invitations, announcing a gala, planning a parade, or just looking to add some pizzazz to your party, Budmo has got you covered. But that’s not all, folks! With Budmo Jiggler and Jigglish, you can really ramp up the carnival atmosphere. Layer the Bulbs, Honk, and Solid styles to create a truly carnivalesque effect. And don’t forget to try adding a glow effect to the Bulbs style for even more razzle-dazzle. But here’s the thing, friends. Even on its own, the Bulbs style is nothing short of snappy. Add your own special effects and watch it light up the night! So come on down and see Budmo for yourself. You won’t be disappointed! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Astro, a charming serif font designed to bring an elegant and classic touch to your designs. Crafted with meticulous attention to detail and inspired by mid-millennium Serifs, Astro seamlessly blends traditional sophistication with contemporary elements, making it suitable for a variety of design projects, both print and digital. Enchanting Letter Shape Designs: Astro exudes charm with its letter design that is heavily inspired by the mid-millennium Serifs often found in European and American designs. Each letter is carefully carved to create a charming and luxurious impression. Unique Alternative Glyphs: Astro is not just a font; it is a standout typographic masterpiece. By offering several unique alternative glyphs, such as the letters a, g, and k, Astro gives designers the freedom to express their creativity in a unique and personal way. Mid-Millennium Serif Elegance: Astro features smooth lines and proportions, creating an elegant impression characteristic of mid-millennium Serifs. This design provides a timeless classic touch making it suitable for a variety of design needs, including books, magazines, posters and other printed materials. Ease Readability: While the Astro exudes striking elegance, its design also prioritizes readability and comfort. Each letter is created with balanced proportions and optimal contrast, ensuring text appears clear and easy to read, whether on a large or small scale. Flexible Use: Astro is designed to provide flexible use across a variety of design platforms. From the logo design to the magazine layout, Astro adapts beautifully, maintaining a consistent feel that enhances the aesthetic quality of the design. European and American inspiration: Astro creates a bridge between European and American typographic styles, combining the best elements of both traditions. This makes it the perfect choice for projects that combine elements from both continents. Astro is more than just a font, it is an artistic statement that leaves an unforgettable impression on any design project. Suitable for designers who appreciate classic beauty and modern uniqueness, Astro brings a special and charming feel to every character it creates.