Artù ! Strano ma vero, strange but true. A beautiful, intelligent and lively Italian dog and a great friend, unfortunately no longer among us ... but his memory lingers. A typeface designed in Rosennano (Tuscany), its Italian, but executed in Amsterdam. This monospace typeface might prove to be extremely useful for household products like washing powder or any anything like that. Just use it in your designs, let it live! Concept/Art Direction/Design: André Toet © 2017

Magallanes Essential a contemporary neo-humanist sans serif font designed by Daniel Hernández. Its strokes and terminals are related to the calligraphic strokes from humanist typefaces. Every weight comes with alternative glyphs for a more dynamic use. Magallanes is the perfect titling font to complement text faces in magazines, logotypes, etc. It is a essential family of 8 fonts, 4 weights and italics. This typeface no contains alternate glyphs and add only Windows 1252 Character set (219 Glyphs).

Blackpine is handbrush font, hand-drawn typeface. It has a elegant, classy look and cool. It’s a great font for fashion, apparel projects, signature, album cover, logo, branding, magazine, social media, & advertisements, but also works great for other projects. Highlight : Standard glyphs (Uppercase, Lowercase, Numeral & Punction) Work on PC or Mac PUA Encoded Support No special software is required, The fonts can be opened and used in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word.

“I Don't like No Cheap Man” is a piece of early 1900s sheet music featuring its title hand lettered in a condensed slab serif design. The influences of the Art Nouveau era are clearly found in the many eccentric character shapes within the various letters of the original artwork. Recreated in digital type, Tightwad JNL is available in both regular and oblique versions – and its font name is a variant of the “Cheap Man” portion of the song’s title.

Linotype Schnitz is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designed by the Finnish artist Osmo Niemi, the characters seem to contain no round forms at all. Linotype Schnitz looks as though it were chiseled and has an angular, almost brittle feel. The restless and lively appearance makes Linotype Schnitz particular well-suited to headlines and shorter texts with point sizes of 12 and larger.

Looking to take your design game to the next level? Look no further than Auzhera Brush Font! Handmade from a real analog fude brush pen, this stunning handwritten font boasts a unique brushed texture that adds a natural, hand-written feel to any project. From bold headlines to understated designs, Auzhera Brush Font’s versatility is unmatched. Crafted with meticulous attention to detail, this font is perfect for creatives looking to add a touch of personality to their work.

Kilburn is a no-nonsense, condensed Gothic sans-serif. For over a century the condensed sans-serif has been the 'go to' font for gravitas and authority. Kilburn continues in the fine tradition of fonts such as Franklin Gothic, News Gothic and Trade Gothic offering a contemporary interpretation of the condensed sans-serif — functionality with personality. Equally at home as both a text and display font, Kilburn is available in five weights from Thin through to Black.

The name of the font is from the hilarious movie "21 Jump Street" - and that is where the similarity ends. While the movie is quite funny, it is also super goofy! I can't say the same about the font, because terms like organic and organic comes to my mind. Strange, yes! And I have really no good reason for this naming, other that its an odd way to tribute this one of my all time favourite comic movies! :)

Argot is inspired by condensed grotesque letterforms and would be a monolinear sans except for an unorthodox disparity between inner and outer shapes. Elegantly curved outlines contrast starkly with austere rectangular counters, suggesting a no-frills functionality, 20th century modernism, or an unsettling discordance. The squared off inner spaces also add clarity and crispness. Argot is available in three widths — Wide, Normal and Narrow. Each width is supplied in three weights — Regular, Bold and Black — with corresponding italics (obliques).

An inline adaptation of a distinctive slab serif, Cesium is an unusually responsive display face that maintains its high energy across a range of different moods. The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver. From the desk of the designer, Jonathan Hoefler: I always felt that our Vitesse typeface, an unusual species of slab serif, would take well to an inline. Vitesse is based not on the circle or the ellipse, but on a less familiar shape that has no common name, a variation on the ‘stadium’ that has two opposing flat edges, and two gently rounded sides. In place of sharp corners, Vitesse uses a continuously flowing stroke to manage the transition between upright and diagonal lines, most apparent on letters like M and N. A year of making this gesture with my wrist, both when drawing letterforms and miming their intentions during design critiques, left me thinking about a reduced version of the typeface, in which letters would be defined not by inside and outside contours, but by a single, fluid raceway. Like most straightforward ideas, this one proved challenging to execute, but its puzzles were immensely satisfying to solve. Adding an inline to a typeface is the quickest way to reveal its secrets. All the furtive adjustments in weight and size that a type designer makes — relieving congestion by thinning the center arm of a bold E, or lightening the intersecting strokes of a W — are instantly exposed with the addition of a centerline. Adapting an existing alphabet to accommodate this inline called for renovating every single character (down to the capital I, the period, and even the space), in some cases making small adjustments to reallocate weight, at other times redesigning whole parts of the character set. The longer we worked on the typeface, the more we discovered opportunities to turn these constraints into advantages, solving stubbornly complex characters like € and § by redefining how an inline should behave, and using these new patterns to reshape the rest of the alphabet. The New Typeface The outcome is a typeface we’re calling Cesium. It shares many of Vitesse’s qualities, its heartbeat an energetic thrum of motorsports and industry, and it will doubtless be welcome in both hardware stores and Hollywood. But we’ve been surprised by Cesium’s more reflective moods, its ability to be alert and softspoken at the same time. Much in the way that vibrant colors can animate a typeface, we’ve found that Cesium’s sensitivity to spacing most effectively changes its voice. Tighter leading and tracking turns up the heat, heightening Cesium’s sporty, high-tech associations, but with the addition of letterspacing it achieves an almost literary repose. This range of voices recommends Cesium not only to logos, book covers, and title sequences, but to projects that regularly must adjust their volume, such as identities, packaging, and editorial design. Read more about how to use Cesium. About the Name Cesium is a chemical element, one of only five metals that’s liquid at room temperature. Resembling quicksilver, cesium is typically stored in a glass ampule, where the tension between a sturdy outer vessel and its volatile contents is scintillating. The Cesium typeface hopes to capture this quality, its bright and insistent inline restrained by a strong and sinuous container. Cesium is one of only three H&Co typefaces whose name comes from the periodic table, a distinction it shares with Mercury and Tungsten. At a time when I considered a more sci-fi name for the typeface, I learned that these three elements have an unusual connection: they’re used together in the propulsion system of nasa’s Deep Space 1, the first interplanetary spacecraft powered by an ion drive. I found the association compelling, and adopted the name at once, with the hope that designers might employ the typeface in the same spirit of discovery, optimism, and invention. —JH Featured in: Best Fonts for Logos

Adelphi is a geometric sans, redefined for the northern side of the English Channel. Typographic modernism was a late arrival in Britain — due partly to the Second World War and to the strong local type tradition. This delay provided for fruitful divergence, thus modernism was not adored in quite the same way as it had been in Germany and central Europe. It was instead rethought and repurposed against the backdrop of the bleak British weather and postwar social reform – a continental fashion statement reshaped into a more humanist variant. Likewise, when crafting Adelphi, Nick Job reimagined the constraints that defined the geometric sans as a genre. Whereas other typefaces seem overly bound by the rules, Adelphi feels relaxed and approachable. Elementary square and circular shapes are merely implied. A keen observer may notice that the uncomplicated letterforms occasionally reveal a subtle naïveté associated with early Grotesques. Brunel’s bridges and Harry Beck’s tube map spring to mind alongside the Bauhaus and Futura. But Adelphi is by no means nostalgic! It is a contemporary, comprehensive, and durable system with a pragmatic set of features. These include a wide array of weights, ‘uniwidth italics’, and variable extenders that go from tall and flat in Adelphi Text to short and sharp in Adelphi Display, with default Adelphi standing midway between these two extremes. You can set the extenders to your preference in the all-inclusive variable font or use one of the three static fonts that come packed together, priced as a single font. The pan-European support for Latin, Cyrillic and Greek scripts already makes for a vast character set, but Adelphi takes things a step further by including alternate glyphs to satisfy the DIN1450 legibility norm, a range of ordinals that can be used to create specialist compositions in all three scripts and two kinds of fractions and arrows. Play with the alternates or use it as-is. Either way, this understated beauty will carry you through.

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.

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.

CA Saygon Text is the logic consequence of CA Saygon. It is much calmer and therefore also suitable for reading texts and everyday’s editorial tasks. Basic shapes and proportions were adopted from Saygon and continued in such a way that a font family from Thin to Extrabold resulted. A fundamental inspiration were early static grotesque typefaces such as Akzidenz Grotesk. Nevertheless, the typeface was by no means intended to have a historical look. Thus, a relatively high x-height was chosen, which makes the typeface quite economical in type-setting, since the letters appear visually larger. A relatively small line spacing with good legibility can be achieved due to the small ascenders and the low cap height. Letters like f and t, which otherwise tend to end in curves, were given right angles, which on the one hand meets certain design elements of the original Saygon, but on the other hand also refers to contemporary trends in typeface design. A special feature are the five styles in which CA Saygon Text can be used. The default setting is the Helvetica style, with two-storey a and g. The Futura style has a single-storey a and a two-storey g accordingly. The third style with two-storey a and three-storey g is called the Franklin style. But the real highlight is the Cape style with single-storey a and three-storey g – a real rarity up to now. Let yourself be inspired by this unusual typeface. If you like it even more progressive, you should try the flat style, which continues the right angles in a, g, and y as well. Thanks to the Cyrillic and Latin Extended character sets, a huge linguistic area is covered that even extends to Vietnam! Even the exotic German capital-double-s is available and appears automatically when typed between other capital letters. Numerous OpenType features make life easier for the professional typographer: there are fractions, superscript and subscript numbers, as well as proportional and tabular capitals.

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.

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.

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.

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.

Looking for a typeface that oozes class and style? Look no further than Raincoat. This stunning display font combines the best of both worlds, with a geometric sans serif that’s been given a timeless, antique feel. But Raincoat is more than just a pretty face. With its OpenType features, it’s a font that can truly personalize your designs. Letter combinations are transformed into custom ligatures, making your work truly unique. From the altered ends of the “T” to the interlocking rings of the “O”, Raincoat is a typeface that adds a touch of personality to any design. So if you’re looking to make a statement, whether it’s for a logo, poster, or website, Raincoat is the perfect choice. With its candid style and classy design, it’s a font that’s sure to impress. So why not try Raincoat today and see for yourself the creative design options it can bring to your work? Most Latin-based European, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, 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, Kalmyk, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Khalkha, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, 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, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Gendouki, the ultimate futuristic typeface that will transport your designs to the cutting-edge of technology. With its striking filament stencil lines, reminiscent of spacecraft access panels, Gendouki is the perfect choice for projects that demand a bold and hyper-futuristic look. Imagine using Gendouki as a large, low-contrast backdrop element, setting the stage for your content to shine. The sleek and modern lines of the font will add depth and dimension to your design, creating a dynamic visual experience that’s sure to capture your audience’s attention. But that’s not all. Gendouki is also perfect for producing movement in your paragraphs when applied as a techno drop-cap. Watch as your text springs to life, animating your words and drawing your reader in with its captivating energy. So if you’re looking for a font that combines the sleek, hyper-futuristic look of a spacecraft with the sharp, clean lines of modern design, look no further than Gendouki. Try it today and take your designs to a whole new level of cool. 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 Madawaska, the rugged slab-serif typeface that commands attention and exudes an air of authority. Born in Canada, this classic font packs a powerful punch with its stocky, weighty design and distinguished personality. With a total of eight hefty weights and italics, Madawaska offers the versatility you need to convey your message with the utmost impact. And for those who require easy web or application deployment, the font also includes sturdy small-cap styles that are sure to impress. But that’s not all—Madawaska offers even more character with two scuzzy effect styles, Madawaska Jeans and Madawaska River. These unique styles feature custom textured OpenType ligatures that add an extra layer of personality to your designs. So if you’re looking for a typeface that embodies strength, reliability, and a touch of grit, look no further than Madawaska. Let it add a rugged edge to your next project and make a lasting impression on your audience. 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.

Hey there! Are you looking for a typeface that exudes rugged individuality? Look no further than Hit! This display font boasts a textured design that gives your words a raw and weathered edge. With Hit, you can add a touch of crusty confidence to any message. Whether you’re creating a bold poster or a striking logo, this typeface will help you stand out from the crowd. Its unique, rough aesthetic is perfect for brands and designs that want to convey a sense of personality and authenticity. But don’t let its rough edges fool you—Hit also has a playful side. Its levity adds a touch of humor and lightheartedness to any design. Plus, its versatility means it can be used for a wide range of projects—from vintage-inspired graphics to contemporary designs with a twist. Overall, Hit is a typeface that dares to be different. So why not let your words stand out with its textured design? Give your message the voice it deserves with this intriguing and rugged typeface. 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Superclarendon, a typeface that’s as bold and powerful as its mid-19th Century inspiration. Its chunky slab serifs and subtly squared letterforms give it a timeless appeal that’s sure to make your designs stand out. But Superclarendon isn’t just a nod to the past—it’s a contemporary take on the classic Clarendon that retains all of its booming voice. Superclarendon’s austere curls and sturdy terminals give it a solid construction that’s sure to make an impact. Its squarish, superelliptical curves give it a modern feel that’s perfect for today’s designs. Whether you’re creating a poster, a brochure, or a website, Superclarendon is the typeface that will make your message loud and clear. And with four weights, italics, and old-style (lowercase) numerals, Superclarendon gives you all the tools you need to create stunning designs. So if you’re looking for a typeface that’s as powerful as it is versatile, look no further than Superclarendon. 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

With designs drawn specifically for comfortable reading in everything from on-screen digital content to print in periodicals and books, Mundo Serif is ready to take on just about any project. Carl Crossgrove drew the suite of typefaces to complement his Mundo Sans family’s classic humanistic design traits – and added a subtle modern influence. Restrained stroke modulation, generous counters, commanding x-height and tall ascenders ensure that content set in Mundo Serif is both legible and easy on the eyes. While primarily designed for text copy in print and on screen, Mundo Serif becomes a powerful display type tool in the lightest and boldest weights. Headlines, navigational links and banners are naturals for this versatile collection of typefaces. Mundo Serif is a large family. Nine weights, each with an italic companion, enable precise typographic tuning. Captions, subheads, pull quotes and long-form copy can be melded to create a welcoming page of modulated text. For best results in digital environments, skipping a weight – or even two – ensures hierarchical clarity. Crossgrove did extensive testing of Mundo Serif to ensure the best possible on-screen readability. To further guarantee optimal digital imaging of the family, he gave the design generous inter-character spacing and slightly expanded intricate characters like the lowercase a and g. If the goal is diversified or multi-platform branding, look no further than Mundo Sans. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Both designs benefit from large international character set that includes support for most Central European and many Eastern European languages. For a stronger contrast, pair Mundo Serif with virtually any sans serif grotesque design. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the warm, clean lines of the Mundo Sans. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

Reyhan is a low contrast typeface that looks legible and clean in small sizes. On large sizes, it wraps the space around. Finely drawn negative spaces, neat and minimal shapes define Reyhan. Simple and clean lines give the typeface a solid and finished look. Reyhan is pure and powerful with well designed proportions. Different alternatives such as square dots, alternate /a /l /y /R /1 /6 /9, coverage of 94 Latin languages, various Opentype features, and 18 styles expand the usage area of ​​Reyhan, making it a versatile workhorse. With high-quality spacing, Reyhan looks good on all sizes, making it not only a valuable tool for graphic designers but also a total typeface solution for every person who communicates with type. Reyhan is a typeface designed to adapt requirements of modern and traditional communication. For more information please visit www.plantype.co

If you're familiar with the work of Eisner Award winning artist Tim Sale, you'll also be familiar with the soft curves and hard edges of the characters he brings so vividly to life in the pages of GRENDEL, BATMAN and SUPERMAN. Now you can get to know a selection of the characters Tim has been working on his whole life, and Comicraft has been kind enough to arrange them in alphabetical order for you! Based on Tim's own hand lettering work in the lost Dark Horse classic, BILLI 99, the Tim Sale font brings together the class and finesse of Hunter Rose, the elegance and charm of Bruce Wayne and the honesty and trustworthiness of Clark Kent. Don't go into the big city alone at night without it. See the families related to Tim Sale: Tim Sale Lower & Tim Sale Brush.

Rhein is named after the German river that runs through the western border valley. Rhein is a sans-serif typeface family for titles, editorials and graphic design pieces with high impact needs. Rhein was not only conceived as a font design with rounded corners, but its intersection points have been also smoothed. In addition, the wide range of 8 weights that vary from Thin to Black allow relatively long continuous reading (Regular, Medium, Semibold), and short reading designs (Black, Bold, Thin). On the other hand, the "Inline" variant is extremely provocative to fit into any branding project. To add dynamism and to expand the typeface range of use, it was designed as a family of alternatives. Together, the 18 styles of "Rhein" provide a range of options that adjust to the needs and current design and advertising trends.

Rollerscript is, in effect, a more modern version of Olicana whose letterforms were drafted using a nibbed pen and ink. Handwriting tends to change depending on what instrument you're using and with Rollerscript the outcome is decidedly more casual and informal than Olicana, though equally realistic. Pronounced pressure points where characters start, end or join make for a very authentic hand drawn appearance which is enhanced still further through the use of over 100 standard ligatures. Character pairings like ‘tt’ or ‘gg’ in normal handwriting fonts never look natural but in Rollerscript will now automatically change as you type! Rollerscript’s handwriting credentials are given a further boost with the inclusion of multiple underlines and sketched icons, arrows and emoticons. There is an extra stylistic set for alternate styles of cursive r and z. You can also choose between Rough and Smooth styles.

The German designers Gerd Sebastian Jakob and Jörg Ewald Meißner developed the Linotype Puritas family in 1999. The family, which has six text styles as well as a ornament set, displays a very geometric design, which harks back to the German modernist experiments with typography and lettering from the 1920s. The letters in Linotype Puritas Light, Linotype Puritas Medium, and Linotype Puritas Bold all have a slight slant to them. Not to be confused with an italic-grade slant, which may be found in the Light, Medium, and Bold Italic styles, these acute slants add a dynamic quality to text. The Linotype Puritas Ornaments font contains several dingbats and border elements, all drawn in the same line style as the companion letters. The entire Linotype Puritas family is included in the Take Type 4 collection from Linotype GmbH."

Enthra Centro script is an elegant combination of a script . It is slender, feminine and classy, while still maintaining a friendly feel. Enthra Centro script is versatile and will work perfectly for e-commerce brands, wedding boutiques, initial name cards or any business that wants to appear upscale and chic. With its many varian stylistic character Enthra Centro script is perfect for creating original and functional designs. It has extensive language support and alternates, stylistic sets that add visual interest to every letter. You can use the Enthra Centro script for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, ads and the various web and screen usages. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style.

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

Schlange is a rich typeface with rounded terminals. The family includes five sans serifs and five slab serifs in weights from ultra light to bold. Schlange’s personality is determined by an open aperture and quite large lower case characters in comparison with the upper case set. Schlange’s personality is open and friendly, giving a text it’s used for a soft, warm appeal. Schlange will work well as a display type (think titles, short magazine call-outs, ad banners, and such), but it’s not a good choice for extensive bodies of academic text. Available in numerous weights, the typeface provides rich opportunities for mixing and matching and is great for typographic compositions. These qualities make Schlange a dream type for a packaging designer. It will feel at home in design for cosmetics or sweets, postcards, children’s books and menus.

Ark is a combination monogram set based on the ATF Virkotype design. By combining variously shaped characters, you can produce initials within an oval frame. Just select a left-hand letter, a center letter, and a right-hand letter. Then place all three on an oval frame of your choice. Great for stationery and company logos. The Ark Monogram Set comes with easy-to-read instructions and a useful character map. Additional alternate characters have been provided for better identification and letter fitting within each font. Ark Monogram is now available in the OpenType Std format. Some new stylistic alternates have been added to this OpenType version. Advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Introducing Pinafore Complete, a broad, brush-style display font in four styles. Pinafore comes with upright and oblique styles as well as paper cut versions of each. It includes 363 glyphs such as small caps (see note below for more on this), multilingual support (including multiple currency symbols), an awesome ampersand, math symbols, and more. A note about small caps: There are TWO ways to access the small caps in this font family. For OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign, these can be accessed from within the main font files using the character panel or the glyphs panel. For programs that do not access these OpenType features, I have also included small-caps-specific font files. In these files, the regular caps are accessed by typing capital letters and the small caps are accessed by typing lowercase letters.

DIN Text Universal is the most advanced DIN superfamily ever. It combines the powerful DIN Text Pro with DIN Text Arabic bringing the number of glyphs to 3320 per font. In fact, this set of fonts contains the most complete and powerful array of arabic features commercially available. It supports all variations of the Arabic script such as Persian, Urdu and Pashto. It is also enhanced with 30 advanced opentype features and kerning for all languages. The four major scripts Latin, Arabic, Cyrillic and Greek are now matched across the design of the whole family, respecting at the same time each one's modern cultural identity. With its vast array of weights, the extended support for numerous languages, its careful and detailed design, it will prove to be extremely valuable for many complex corporate projects and corporations which operate internationally.

English HU Cookie is a cute handwritten typeface that can be used to express any lively or active moment. The alphabets are not aligned or evenly written but are crooked like scribble, which gives you funny and informal vibe. There are 2 weights of HU Cookie : light, semi bold Greek Το HU Cookie είναι μια χαριτωμένη χειρόγραφη γραμματοσειρά που μπορεί να χρησιμοποιηθεί για να εκφράσει οποιαδήποτε ζωντανή ή ενεργή στιγμή. Τα αλφάβητα δεν είναι ευθυγραμμισμένα ή ομοιόμορφα γραμμένα, αλλά είναι στραμμένα σαν σκαρίφημα, κάτι που σας δίνει αστεία και ανεπίσημη ατμόσφαιρα. Υπάρχουν 2 βάρη του HU Cookie: light, semi bold Cyrillic HU Cookie - это симпатичный рукописный шрифт, которым можно обозначить любой живой или активный момент. Алфавиты не выровнены и написаны неравномерно, они изогнуты, как каракули, что создает забавную и неформальную атмосферу. HU Cookie имеет 2 толщины: light, semi bold

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Paneuropean covers Eastern and Western Latin, Greek and Cyrillic Extended.

Soul Silver is an elegant. It is slender, feminine and classy, while still maintaining a friendly feel. Soul Silver is versatile and will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic. With its many varian stylistic character Soul Silver Script is perfect for creating original and functional designs. It has extensive language support and ligatures, alternates, stylistic sets that add visual interest to every letter. You can use the Soul Silver script for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, book covers, ads and the various web and screen usages. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style.

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.