Terafile, a sans serif family designed by Raúl Plancarte who was inspired by hi-tech aesthetics. It is made up of eight weight variants with their respective italic versions. Ideally it works to capture in a graphic way the universe related to technology, sci-fi, industry and similar topics. It is a mixed family, because the construction of certain letters (as in "a", "f", "z", "B", "P", among others) is enriched with different finishes in structure to gain differentiation and plasticity. In other words, it moves away from an entirely academic design. Another important line in the creative concept of this typeface is the function of its ink traps, which, in addition to fulfilling their primary function, serve to gain gestuality in its use. This font is capable of covering complex design needs by enabling association with specific themes, which makes it highly competitive in its graphic line.

Introducing Sebale – Handwritten Script A Playful Handwritten Script Sebale, a font brimming with delightful whimsy, injects a playful touch into your designs. Charming Whimsy Sebale’s design is not only handwritten but also exudes charming whimsy, making it an ideal choice for a variety of creative projects. Versatile for Creative Endeavors Moving beyond its charm, Sebale’s versatility shines through, allowing it to seamlessly enhance a wide range of design projects. From greeting cards to branding, it offers a wide array of possibilities. Engaging and Memorable Sebale ensures that your content is not only engaging but also incredibly memorable, leaving a lasting and delightful impression. In Conclusion To sum it up, Sebale – Handwritten Script is the font that effortlessly infuses a delightful playfulness into your designs. Its versatility makes it suitable for a broad range of creative endeavors, ensuring accessibility to a diverse readership. With Sebale, your projects will undoubtedly stand out.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Getho is a Semi Sans family of geometric construction with 6 weights plus the italic versions all include small letters, the symbol of Bitcoin and other monetary symbols. It is an exclusive typography with neo-grotesque modulations and maximum readability in any size. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The complete Pack includes versions of the Variable Fonts type. The drawn of the vectors is meticulous to obtain smooth curves of elegant aspect to which also contributes the subtle rounding of the corners, the thicker versions have of traps of ink in the knots of the unions to be able to use them in small sizes. The Metric and the Kerning of all the versions I have reviewed individually to obtain a fluent reading in any type of text and size.

Description This is Networkand Family. World's best graffiti and non-graffiti marker-styled font ever. Networkand marker font family, carefully selected from hundreds of letters. Signature-styled Networkand Script perfectly fits next to the Networkand Font. Besides all this, the Networkand Swashes Font is designed to customize your designs to another level. You can read Medium article here. FEATURES: Original: Networkand Fonts and swashes created for your special designs. You can turn your dreams into reality and customize them. Unique Creation: An unprecedented experience a creation that no one has ever had before and will uncover your awareness. Create your Brand: Unlike a standard font to create a new brand concept. Be different. Be different in life. Your own. Create your own mark: That’s the most special part of this font. A brand new identity for your personal signatures.

Introducing Round Saetan Typeface The Round Saetan Typeface was created with a modern concept of display font which gives a unique impression because it has a folded shape like a ribbon. The sans serif style adopted by the Round Saetan font is a 2022 style font, has a unique swash alternative, has a large selection of ligatures. In addition. Sans Serif typefaces such as “ Round Saetan typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Round Saetan typeface contains 662 glyphs with many unique and interesting alternative options. In the poster preview all the letters are in the Round Saetan typeface.

Introducing Maglony typeface The Maglony Serif typeface is an elegantly themed font that has a dynamic serif style. The details of the shape of the "Maglony Serif Elegant typeface" are very smooth and flow to create unique and beautiful curves. Elegant Serif typefaces such as “Maglony Serif Elegant typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Maglony Serif Elegant typeface contains 577 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from Thin to Heavy. In the poster preview all the letters are in the Maglony Serif Elegant typeface.

Humble Hearts is a mono script font designed to look handlettered and unique. With over 700 glyphs you will have lots of fun designing beautiful logos, t-shirts, wedding stationery, menus - the list is endless! Anyone can access the alternate glyphs via Font Book on a mac or Character Map in Windows to copy and paste into non designer software. Please take a look at all of the pictures to see this font at work. You can use the basic glyphs as a lovely script on it's own or you can make your designs really fancy using the alternates and swashes. You can choose to have the breaks in the swashes (as shown) or solid swashes. In addition to the multilingual characters included in this font are the following styles and glyphs: Alternates Ligatures Swashes Ornaments & Premade words

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.

LOVE angelo is a beautiful Font Duo that's perfect for branding, wedding invitations, and other romantic projects. Font Features: -Lowercase beginning and end swash -lowercase swash up and down -ligature -1 multilingual Serif font. All the features and special characters of this font are included in one file. So that it is easily accessible by using programs or software that support opentype such as Microsoft Word, Excel, Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font is also very easy to use as it is compatible for all software even for supported non-opentypes. Are you wondering how to find out a special feature or character? Dont worry. You will get a guide with the file if you download this font. Please send a message if you have any questions or concerns, and feel free to say hi on Instagram: https://www.instagram.com/slex_studio/

Patika Typeface is a contemporary neo-grotesque font that combines modern aesthetics with functional legibility. Inspired by the timeless elegance of classic typefaces such as Helvetica, Futura, and Avant Garde, Patika offers a fresh take on the genre with its unique blend of clean lines, balanced proportions, and subtle details. Designed with utmost care and precision, Patika Typeface achieves a harmonious balance between width and height, particularly in its lowercase letters, ensuring optimal legibility across various sizes and applications. Its versatile nature makes it an ideal choice for a wide range of typographic needs, from eye-catching headlines to extensive blocks of text. Equipped with a comprehensive set of OpenType features, including alternative glyphs, fractions, arrows, ligatures, and more, Patika offers designers an array of tools to enhance their typographic compositions and add a touch of uniqueness to their designs.

Eirene Sans is a sans serif type family inspired by grotesque typefaces with some humanistic characteristics. Simple, modern, and functional are the principal features of this type family; the uppercase glyphs present a sophisticated personality. There are 5 weights available and matching italics. It is a bit more condensed than normal width and the difference between thin and thick stems and the unique terminals make the type family have this humanistic personality. It has rounded forms in some letterforms and special characters (i, j, ., :, etc.), humanistic terminals, and very thin ink traps. Eirene Sans is perfect for digital and non-digital designs; it can be used in magazine titles, logo designs, packaging designs, and web designs. Features: 5 weights and matching italics Opentype features Arrow set Stylistic alternates (ft) Stylistic changes in italics Fractions Subscripts Inferior and superior numbers Language support (Latin extended)

The official terseness and grey of Neo-Classical type faces will stand out when we narrow them. The consistently vertical shading of the letters suppresses one's desire for eccentricity, just like tea with bromine. It would, however, be wrong to consider Bodoni as the originator of this - vertically shaded - trend in type face production. In his Manual we can also find type faces with a slanted axis of shade, picturesque italics and a number of normal, more human type faces. It remains a mystery why his name is connected only with one of his many works. Genre's basic design is fairly light in colour, which is why it looks good in illustrated magazines and short texts and directly calls for graphically striking, contrasting headings. It shows off beautifully next to photographs, on diplomas and on printed materials connected with a person's death.

German designer Jürgen Weltin designed Linotype Finnegan, a modern text design with roots in the humanist letterforms of the Renaissance. As the recognizable direction of movement in writing runs from upper left to lower right, Weltin mimicked this in his design: Linotype Finnegan's up and down strokes end in residual serifs. All of the thick strokes have a taper; horizontal strokes and curves are noticeably thinner than the verticals. This dynamic nature lends a combination of individualness and energy, along with a high degree of variety, to Linotype Finnegan. Linotype Finnegan is a wholly new and unique typeface. It distinguishes itself through its extreme legibility, originality, and formal excellence. Linotype Finnegan makes fun to read longer texts non-stop. However, the typeface never distracts the attention from the text's content by forcing itself too much into the foreground.

Introducing Honya Elegant script typeface Honya Typeface is inspired by the classic era typeface in the 1800 era but is combined with today's era and produces a very elegant and charming typeface. The details of the “Honya Typeface” shape are very subtle and flow creating unique and gorgeous curves. Elegant script typefaces like “Honya Typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, apart from that this font is very easy to use in both design and non-design programs because all alternates and glyphs are supported by Unicode (PUA). Honya Typeface contains 797 glyphs with many unique and interesting alternate swash options. In addition, there are alternates cool serif fonts for header text and description (see preview). In the poster preview all the letters are in Honya Typeface.

Helixa is a neo-grotesque typeface with a clean & modern design and an enduring appearance. This is a perfect choice for creating logotypes, branding, headlines, corporate identities, and marketing materials for web, digital & print alike. The typeface will be a great option for branding, logo/logotype design projects, marketing graphics, banners, posters, signage, corporate identities and editorial design. Adding extra letter spacing will make this font the perfect choice for minimal headlines and logotypes, as shown in the promo designs attached. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support with Western European, Central European and South Eastern European sets. A total of 300 glyphs are available. Helixa typeface includes 12 fonts in total, with seven upright weights (Thin / Light / Book / Regular / Bold / Heavy) and Italic equivalents of all six weights.

The Yasmine Mutamathil type family follows the guidelines of the Mutamathil type style. It has only one glyph for every basic Arabic Unicode character or letter. The Yasmine Mutamathil family includes all required Lam-Alif ligatures and selected marks positioning so it does use limited glyph substitutions or forming. Yasmine Mutamathil employs four fixed x-height values, two above and two below the x-axis. Values are high to give a slight vertical overall look. Its design uses full curves with equally distributed weight. Text strings composed using types of this family are non-cursive with stand- alone isolated glyphs. The Yasmine Mutamathil family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. It is available in regular, italic, bold, and bold italic styles.

Midtown Groveed is an elegant classic serif typeface. A simple font, with a thin size, adds an elegant and classy impression. This typeface is perfect for elegant logos, branding, travel promotions, layout magazines, beauty products, product packaging, quotes, or simply as a stylish text overlay onto any background image. 2 Style Font : Regular Bold Midtown Groveed Features : All Caps Numbers & Punctuation Ligature Alternate Multilingual Support Simple installation All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported. Please comment us if you have any questions Thank you and have a nice day. thank you

Salish is a sans-serif typeface inspired by the art of the Salishan tribes in the Northwest Americas. It draws heavily on the concept of the ‘ovoid’, a wide ovular shape that is flat on the bottom and top heavy, that is central to the art style known as ‘Formline’. Designed by Aaron Bell of Saja Typeworks, Salish comes in 5 weights, from Thin to UltraBold. Language support includes some 200 Latin-based languages as well as the necessary orthographies for all Salishan languages, including: Comox, Sliammon, Klahoose, Pentlach, Sechelt, Squamish, Halkomelem, Nooksack, Straights Salish (Saanich), Lushootseed, S'Klallam, Quinault, Upper Chehalis, Lower Chehalis, Cowlitz, Bella Coola, Ditidaht, Tseshaht, Nuu-chah-nulth, Ehattesaht-Nuchatlaht, Kwak'wala, Shuswap, Lillooet, Thompson River Salish, Coeur d'Alene, Columbia-Moses, Colville, Okanagan, and Montana Salish. Haida (a non-Salishan language) is also supported.

Lamaesa is a versatile and original design sans serif typeface. Designed to be used primarily on medium and large point sizes. Designed so you do not get tired of reading it, but at the same time, so that you notice its particularity. Oriented for use in headlines and continuous text, with a solid appearance, but with a slight aroma of handwriting, which gives it an ambivalent and original character. It is perfect for magazines, company letters, websites, advertisements, restaurant menus, and any support and function where it is essential to attract attention in an elegant and non-abusive way. Basic Latin characters. It consists of 217 glyphs (ISO 8859-15): uppercase, lowercase, numbers, currency symbols, and special characters. It consists of six fonts: light, normal and bold as well as their oblique equivalents. Carlos Maeso González is the designer of the typeface “Lamaesa”.

Monto is a superfamily — this is the Grotesk + Grotesk Display part of it. Monto Grotesk is a modern sans serif typeface that combines the strengths of the neo-grotesque and geometric genres. While maintaining an established and trusted look, the design is influenced by a contemporary geometric aesthetic, making it a modern yet timeless companion. The Grotesk is split into two sub-families (Monto Grotesk and Monto Grotesk Display). While Grotesk is intended to be used in long paragraphs and copy text, Grotesk Display is perfect for striking headlines. To achieve maximum legibility, Grotesk emphasizes its characters vertical strokes, focusing on a coherent rhythm and having more open counters in contrast to Display which features a reduced tracking and more geometric and round forms. Furthermore, individual characters change their entire shape to best suit their areas of operation.

Plumper than a misguided Z-lister's dodgy lip job, this is Quinella, named after the cheffy scoops of ice cream and the like, quinelles. It's a cute, fat script with a seventies vibe but a personality all of its own. It's non-connecting in the usual sense, but the letters overlap to make the white space as tiny as possible. Ligatures (standard and discretionary) make smoother solutions for quite a few pairs and trios, and every upper case letter has a more exuberant swash alternate. The contextual alternates feature substitutes in an alternate t for a better fit with certain letters. Fonts don't come much more voluptuous than this. The full-fat, creamy appearance makes it perfect for food packaging, but don't let it end there; it'll make memorable logos, unmissable headlines, and posters with more punch.

Introducing Mobilla Serif Elegant typeface The Mobilla Serif typeface is an elegantly themed font that has a dynamic serif style. The details of the shape of the "Mobilla Serif Elegant typeface" are very smooth and flow to create unique and beautiful curves. Elegant Serif typefaces such as “Mobilla Serif Elegant typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Mobilla Serif Elegant typeface contains 785 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from Thin to Heavy. In the poster preview all the letters are in the Mobilla Serif Elegant typeface.

Introducing Nilota Serif Elegant typeface The Nilota Serif typeface is an elegantly themed font that has a dynamic serif style. The details of the shape of the "Nilota Serif Elegant typeface" are very smooth and flow to create unique and beautiful curves. Elegant Serif typefaces such as “Nilota Serif Elegant typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Nilota Serif Elegant typeface contains 618 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from Thin to Heavy. In the poster preview all the letters are in the Nilota Serif Elegant typeface.

Welcome to the world of Keroya, a relaxed handwritten display font. Do you need a relaxed touch and a non-stuffy title for your project? Keroya is the perfect choice. Keroya brings a relaxed feel and beautiful handwriting to each character. This font is designed to bring your designs to life, giving any project a relaxed and stylish feel. With Keroya, you can create a headline that stands out, a catchy slogan, or a memorable message. Get Keroya now and let your imagination tell a stunning visual story. What's Included: file fonts - All Iso Latin 1 glyphs - We highly recommend using programs that support OpenType features and Glyphs panels such as many Adobe and Corel Draw applications so you can view and access all Glyph variations. - PUA Coded Characters – Fully accessible without additional design software. - Fonts include multilingual support

Introducing Goga, a versatile sans serif family available in 10 weights from hairline to black. It is a typeface that combines the best of geometric sans serifs and neo-grotesques. It draws inspiration from typefaces like Avenir on the one hand and Helvetica on the other. Although Goga is a universal and neutral typeface, it is rather warmer and friendly in nature. If you want to add more juice to your project, you can do so by using unusual stylistic alternates of the lowercase g (hence the name Goga). Goga is a typeface suitable for both large sizes and smaller text, thanks to its large x-height. It contains Latin-extended character set, and thus supports most Latin languages. It also offers many open type features such as fractions, old-style figures, tabular figures, discretionary ligatures and more.

Boiling looks elegant and is very cool to use to support your current design. Because bold font style like this has become a trend in 2020 now. Besides you get thick series, you also get many more font styles to thin styles. All letter characters are very easy to combine with modern minimalist design concepts. In addition to the alternative swash until (ss05), there are also many discretionary ligature choices that are unique and easy to read. Boiling contains 11 families from Thin to Black all of which can be applied to design concepts that are at work or become your unique serif font collection. In the future, alternatives, swash, ligature or a new style of Boiling will be developed. Besides this font already contains Unicode and PUA so it can be used in design or non-design applications.

According to designer David Farey, Cachet is a monospaced, monostroke typeface -- that isn't."" Why the sleight of hand? Typefaces that are limited to a single character and stroke width suffer in terms of legibility. Farey's goal in drawing Cachet was to create a typeface that gives the illusion of monospacing, while delivering a subliminal dose of reader-friendliness. At first glance, Cachet appears to be constructed of straight and nearly-straight strokes. A closer look, however, reveals several subtleties. Curved strokes have an almost calligraphic spontaneity. Places where character strokes meet are tapered slightly, while stroke ends have been flared. These quiet deviations from geometric uniformity give the design a human, organic, and decidedly non-digital look. An added benefit is that the subtle design modulation benefits readability. Farey's subtle design modulation results in a legible and highly usable new typeface.

Deserved is an elegant look typeface. A unique font, with bold and thin sizes, adds to the impression of elegance, luxury and class. This typeface is perfect for logos, branding, travel promotions, social media posts, magazine layouts, product packaging, quotes, or simply as a stylish text overlay onto any background image. 2 Style Font : Regular Italic Deserved Features : Uppercase Lowercase Numbers & Punctuation Multilingual Support Simple installation All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported. Please comment us if you have any questions Thank you and have a nice day. thank you

Introducing Handy Quomte Elegant script typeface Handy Quomte is inspired by the classic era typeface in the 1800 era but is combined with today's era and produces a very elegant and charming typeface. The details of the “Handy Quomte” shape are very subtle and flow creating unique and gorgeous curves. Elegant script typefaces like “Handy Quomte” are very easy to apply to any design, especially those with an elegant and smooth concept, apart from that this font is very easy to use in both design and non-design programs because all alternates and glyphs are supported by Unicode (PUA). Handy Quomte contains 675 glyphs with many unique and interesting alternate swash options. In addition, there are alternates cool serif fonts for header text and description (see preview). In the poster preview all the letters are in Handy Quomte.

Johann Neudörffer the Elder's 1538 writing manual fascinated the German designer Helmut Bomm for years. Together with Albrecht Dürer and Hieronymus Andreä, Neudörffer helped create Fraktur, perhaps the most Germanic of all the blackletter styles. As a tribute to this master, and bringing its letterforms to a 21st century public, Boom released the Neudoerffer Fraktur family through Linotype in 2009. Neudoerffer Fraktur's appearance is based very much in handwriting, and Bomm had already begun using letters from prototype versions of this typeface as early as the 1990s. For years, Neudoerffer Fraktur'sletters would appear secretly and seductively in design projects like historical sign restorations or heraldry pieces. The sources that Bomm used while drawing the typeface were images from Jan Tschichold's Treasures of Calligraphy" and Albert Kapr's "Schriftkunst." The Neudoerffer Fraktur family has four separate fonts. Any user of Adobe CS applications should consider licensing Neudoerffer Fraktur Regular (the font without any numeral suffixes). This font contains three different OpenType stylistic sets. Users can pick and choose which versions of the letters that they would like to set. Anyone using Quark XPress, Microsoft Word, or other applications without support for Stylistic Sets should license Neudoeffer Fraktur Regular 1, Neudoeffer Fraktur Regular 2, and Neudoeffer Fraktur Regular 3. Each of these three fonts has letters with slightly different style of flourish, and all three may be combined with each other. Neudoerffer Fraktur Regular 1 is optimal for longer texts; Neudoerffer Fraktur Regular 2 contains alternate letters, and well as more ornamented capitals; Neudoerffer Fraktur Regular 3's letters have a stronger calligraphic accent."

Zigfrida Typeface was born from a process of re-designing a logo where, through a grid created, I was developing all its main characters. As the project grew, it was noted that it was necessary not only to limit itself to the Latin alphabet, but also to develop Cyrillic characters. Its possibilities of use are endless, can be used in projects for your favorite sport, signs, posters, large formats, advertising projects, architectural, packaging, titles, among others. The result of all this was the development of a font that has up to 747 glyphs that can understand 100% of Latin languages and the vast majority of countries that use the Cyrillic alphabet. It has unique personality and characteristics that bring a differential to any project it is part of. ----- A Zigfrida Typeface nasceu a partir de um processo de re-design de um logotipo onde, através de um grid criado, fui desenvolvendo todos os seus principais caracteres. A medida que o projeto foi crescendo, observou-se que era preciso não apenas se limitar ao alfabeto latino, mas também desenvolver os caracteres cirílicos. Suas possibilidades de uso são infinitas, pode ser utilizada em projetos para seu esporte favorito, sinalizações, cartazes, grandes formatos, projetos publicitários, arquitetônicos, embalagens, títulos, entre outros. O resultado de tudo isso foi o desenvolvimento de uma fonte que possui até 747 glifos capaz de compreender 100% dos idiomas latinos e a grande maioria dos países que utilizam o alfabeto cirílico. Tem personalidade e característica únicas que trazem um diferencial para qualquer projeto que ela fizer parte.

This type face fills one of the gaps between the world of Roman alphabets and that of linear alphabets. The first to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptor's use, as a type face for three-dimensional inscriptions. Their width proportions reflect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions. The type face was later complemented with a set of lower-case letters and elaborated into further designs. Its clear, concise letter forms end with small serifs which not only make the type face more refined, but above all anchor the individual letter signs visually to the horizontal of the text line. The austere construction of the majority of the letters is balanced by the more exuberant, humanizing forms of the most frequently used letters "a"; "e". (The three variants of the lower-case "e" enable to create rhythmically differentiated texts.) The letters in which a straight stroke is connected with an arch are designed in two ways. That means that the letters "n", "h","m" and the group of letters "b","d","p","q" are conceived in a different way. Thus an interesting tension is created in the structure of the text, which, however, does not endanger legibility. The economizing, slightly narrowed design of this type face predetermines its use for the setting of usual texts. In larger sizes, however, it produces a rather serious, even solemn, impression.

URW Geometric Extended is the matching complement for the URW Geometric, including 20 additional extended styles. URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric. These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for today’s needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The number sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric is perfectly designed for today’s requirements.

Almoneda: Sale at public auction of movable goods, generally used. And also: private and voluntary sale of jewelry and junk that is made without the intervention of justice. Formerly, it was nothing more than the market or sale of things and spoils won from the enemy in war. Nowadays, the almoneda is practically associated with spaces where the sale of "old things" takes place and, in Madrid, they are usually concentrated in the area of El Rastro, an open-air market that is set up on Sundays and some holidays in the center of Madrid. There, you can find everything and, if you walk around a lot and look hard enough, great typographic finds. It is there where I find a large number of elements (usually from the late nineteenth and early twentieth century) such as boxes, posters, books, etc.. in which appear uppercase letters with a variety of shapes, letters embedded, rare ligatures ... In addition, many elements extracted from street signs, tiles from bars and commemorative elements of Madrid have been used to complete this font design made with care and patience. Thus was born Almoneda, a modern typeface with a marked axis and great contrast, and an uppercase with several sets of characters to play with and enjoy. It also includes a large number of ligatures and discretionary ligatures. A Variable font is included with the full package license. Almoneda, a typeface that will not leave you indifferent. They take it out of my hands, hey!

If you still think that an antiqua is a typeface with a strong historical character that difficult to apply in modern realities, meet the new typeface from TypeType! TT Livret is an elegant, modern and functional antiqua featuring a calm text and an expressive display subfamily. TT Livret useful links: Specimen | Graphic presentation | Customization options This font looks harmonious in books and other periodicals, on posters or on magazine covers. The scope is not limited to the printing industry, because TT Livret looks aesthetically pleasing wherever text is used. The text subfamily has uniwidth proportions and a calm spirit, oval round characters, free spacing and more open apertures. The glossy display subfamily is proportional and has round signs that are as close to a circle as possible, the apertures are closed, and the spacing is dense. The font has an intermediate subfamily - Subhead, which can look more relaxed when used as text font, or be contrasting and used as a display font. In TT Livret, we have embodied the idea of ​​an antiqua that will be comfortable to use in modern realities. This is a functional font, where the text face does not distract from reading, and the display face, on the contrary, attracts attention. The TT Livret font family consists of 32 faces: 15 upright, 15 oblique, and 2 variable fonts. Each face has 1031 glyphs. The font contains 26 OpenType features, as well as a large number of ligatures. There are many alternative characters in italics, which are especially diverse in Cyrillic.