The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives. While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms. The flowing rhythm, achieved through a letterform axis that is overall slightly rightward, is most noticable in the hallmark f and long s. Round forms are fused together for economy of space. It is a writing hand that, with its syncopation and fluidity, produces a vibrance uncharacteristic of other blackletters. Givry has been created in the spirit of the bâtarde flamande. It melds the particular traits compiled from the works of the style’s prominent scribes—Jean Fouquet, Loyset Liédet, and Jean Bourdichon. While suitable as an elegant and energetic display face, Givry was conceived for setting continuous text. The result of many refinements and adjustments is the preservation of the style’s irregular nature, as well as a consistency that continuous-text typography requires. Carefully researched and developed in OpenType format for a wealth of typographic features and support for more than forty languages, Givry is neither derivative nor experimental, but historically accurate. Of the many blackletter digital typefaces available, fraktur and all its connotations have become representative. In contrast, the bâtarde flamande is essentially non-existent in digital form, and has until now been overlooked. Givry provides designers and anyone searching for typographic expression a lively, delicate, and striking side to blackletter.

Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

TT Lovelies Script useful links: Specimen | Graphic presentation | Customization options About TT Lovelies Script: Without any false modesty we can say that TT Lovelies Script is one of the most complicated projects we have ever carried out – there are 1115 glyphs, more than 2000 contextual alternates, 10000 kerned pairs and a large number of OT features, including ligatures and Old Style numbers. The most important characteristic of this font is that it is really seamless. We've done the impossible: in TT Lovelies Script, even capital letters are connected to lower-case letters without any breaks. The base for our typeface is original calligraphy by Russian designer Alena Korobanova. The beautiful handwriting was painstakingly crafted into a fully functional font. TT Lovelies Script is a very lively and playful typeface with some unpredictable nuances. Turn on the use of OpenType features CALT & DLIG in your graphic editor and use the font to the full. Every lower-case letter has characteristic pen strokes which begin and end a word. The pen strokes are turned on automatically when you accordingly type two hyphens at the beginning and at the end of a word. For instance, type '- - apricot - -' and you'll see the beautiful pen strokes at the beginning and at the end of the word. TT Lovelies Script uses a great number of contextual alternates and ligatures which help maintain the handwritten impression. For each letter, a separate grapheme is created for the end of a line, and we've also integrated the Case Sensitive OpenType feature to make working with upper-case characters easier. We've enabled onum, sups, sinf, numr, dnom, frac, ordn as well in order to work with figures. To benefit from all of these wonderful options, you need to use software which supports OpenType features. TT Lovelies Script language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana , Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

NEW UPDATED! OKTOBER 16, 2023 (Guthen Bloots Monoline) Presenting Guthen Bloots! A Smooth Marker Font with stylish alternates. This font is made with the perfect combination of each character. Mix and match to get a unique combination of letters. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing connections. This font can be used at any time and in any project. So, Guthen Bloots can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, logotype, product packaging, etc. Guthen Bloots multilingual support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, French, Finnish, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, and more. Check Other Fonts: Greatest Richmond - an authentic brush font with 3 alternates and 36 swashes Blastone - a brush font with 2 versions, alternates, and extra Ever Looser - a wild brush font with a distinct texture Alingtone Font Duo - a display font with 2 versions, alternates, and extra Bones Stone - a bold script font with more than 9 alternates and extra Journey Signature - an authentic script font crafted carefully Stylish Classy - a fashionable handwritten script font Authentic Photography - a stunning handwritten font WHAT'S INCLUDED? 1. Guthen Bloots Basic • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Huge Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, Azeri, Croatian, Czech, Esperanto, Filipino, West Frisian, Hungaria, Irish, Latvian, Lithuanian, Polish, Romanian, Serbian, Bosnian, Slovak, Slovenian, Turkish, Dutch (Netherlands), Estonian, Finnish (Suomi), Francais, Bokmal (Norsk), Welsh (Cymraeg), Somalia, Belarusian (Latin), Moldovan, and Many More). 2. Guthen Bloots Alt1 • The second version comes with Uppercase and Lowercase. 3. Guthen Bloots Alt2 • The third version comes with Uppercase and Lowercase. 4. Guthen Bloots Slant • The Italic version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Huge Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, Azeri, Croatian, Czech, Esperanto, Filipino, West Frisian, Hungaria, Irish, Latvian, Lithuanian, Polish, Romanian, Serbian, Bosnian, Slovak, Slovenian, Turkish, Dutch (Netherlands), Estonian, Finnish (Suomi), Francais, Bokmal (Norsk), Welsh (Cymraeg), Somalia, Belarusian (Latin), Moldovan, and Many More). Also Included All Alternates. 5. Guthen Bloots Swash • This version comes with 52 underline swashes. Just type A-Z and a-z to feature all. 6. Guthen Bloots Monoline • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Huge Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, Azeri, Croatian, Czech, Esperanto, Filipino, West Frisian, Hungaria, Irish, Latvian, Lithuanian, Polish, Romanian, Serbian, Bosnian, Slovak, Slovenian, Turkish, Dutch (Netherlands), Estonian, Finnish (Suomi), Francais, Bokmal (Norsk), Welsh (Cymraeg), Somalia, Belarusian (Latin), Moldovan, and Many More). Enjoy the Font! Azetype Studio www.azetypestudios.com

City Streetwear is a sophisticated signature collection that includes four script weights and plenty of ligatures. City Streetwear scripts includes 102 ligatures and 6 alternates. Ligature programming has been added to the fonts to give the scripts a more handwritten and luxurious appeal. Try the City Streetwear free font for fashion marketing and social media. It is a great starting point for finding appealing modern catchwords. Use City Streetwear for sophisticated designing. Fonts and posters designed by Cindy Kinash. See font details below. SCRIPT FEATURES: Signature style OpenType Common ff fi fl ffi ffl ligatures  Available in Extended Latin Pro (Standard) or American (US) version. 102 ligatures and 6 alternates. Programmed ligature feature for optimization. Every time you type specific pairs, ligatures are programmed to pop up to avoid letter pair collisions. Programming ligatures gives the script a more sophisticated flow. Make sure to turn on the feature in your preferred program that supports ligatures. FREE WORDS FEATURES: 68 free words useful for fashion, marketing and social media promoting. Keyword examples include fashion, exclusive, and style. Intended use for fashion, apparel, beauty, marketing, social media, websites, magazines, sales, film and packaging.  VERSIONS: American (US) and Extended Latin Pro (Standard) AMERICAN (US) Shorter version  102 ligatures and 6 alternates  Common ff fi fl ffi ffl ligatures  OpenType Includes the common alphabet, numbers, American symbols and punctuation. EXTENDED LATIN PRO (Standard) Extended version of the American (US) version.  102 ligatures and 6 alternate Common ff fi fl ffi ffl ligatures  OpenType Includes characters for Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Feroese, Finnish Scots, French, Gaelic, Galician, German, Greek Transliterated, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Maltese, Nynorsk Bokmal Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh. TIPS: Try the OpenType ligatures by turning on the feature in your preferred program that supports ligatures. DISPLAY- The City Streetwear fonts work best as large headline text for optimization. FONT USE- Use City Streetwear for fashion, apparel, beauty, marketing, social media, websites, magazines, sales, film and packaging.

On a distant planet, there was a typeface that stood out from the rest. Hachimitsu, the kaiju-inspired top-heavy display font, was born from the depths of the Showa era. Its towering presence and unique design draw inspiration from the iconic signs of old Japan. Hachimitsu’s futuristic style brings a retro 1960s science fiction vibe to any message, transporting it to another dimension. Its bold, thick strokes make a statement, demanding attention from all who encounter it. Its angular and sleek curves are reminiscent of alien spacecraft, flying through the vast expanse of the universe. With Hachimitsu, your message will be infused with a distinct and fascinating voice. Whether you’re creating a poster for a sci-fi convention or designing a book cover for a thrilling space adventure, Hachimitsu’s Japanese-inspired design is sure to captivate your audience. Unleash the power of Hachimitsu and take your design to new frontiers. Let its otherworldly charm bring your vision to life and transport your audience on a journey through the stars. 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 Monck, a modern display font that combines the best of modern typography and classic serif styles. With its sleek design and unique lettering options, Monck is perfect for a wide range of design projects. Whether you're creating logos, posters, quotes, or social media graphics, Monck offers a plethora of alternates and end swashes through its OpenType features. Monck comes with three different file formats - otf, ttf, and woff - making it compatible with various design software programs such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. This means you can easily access and utilize the alternate glyphs in Monck to create eye-catching lettering compositions. The OpenType features in Monck allow you to access uppercase and lowercase letters, as well as alternates and ligatures, giving you endless possibilities for creative combinations. Additionally, Monck supports multiple languages, making it a versatile choice for designers around the world. In your zip package, you'll find the Monck font files in otf, ttf, and woff formats, providing flexibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the tools you need to create stunning designs. Monck is a versatile font that can be used for various design purposes, such as logotypes, headings, covers, posters, product packaging, headers, merchandise, social media graphics, greeting cards, and more. Its modern and classic fusion style adds a unique and contemporary touch to your designs, making them stand out in any context. In summary, Monck is a modern display font that offers a wide range of alternates and ligatures through its OpenType features, making it a powerful tool for creative lettering compositions. With its multilingual support and compatibility with popular design software, Monck is a must-have font for any designer looking to add a touch of modernity and versatility to their projects. So why wait? Get Monck now and start creating stunning designs with ease!

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

Introducing Hayate, a resilient small-cap typeface that draws inspiration from the strength and texture of sliced bamboo. This typeface features a rugged design that is perfect for creating a bold and impactful message. With its Japanese influence and subtle nod to the American pseudo-Asian restaurant aesthetic of the twentieth century, Hayate evokes a sense of nostalgia and intrigue. However, it’s important to note that this font should be used with care. In certain contexts, it could be seen as culturally insensitive and contribute to casual racism. Before using Hayate, take a moment to consider the message you are trying to convey and ensure that it aligns with your values and beliefs. By using this font thoughtfully, you can create impactful designs while also being mindful of cultural stereotypes. Choose Hayate for a typeface that’s as strong and sturdy as the message you want to convey. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Have you been searching for the perfect font to add a touch of coziness and warmth to your designs? Look no further than Cardigan! This casual sans-serif typeface is the perfect choice for any project that requires a balance between informality and professionalism. With its straightforward and traditional letterforms, Cardigan is ideal for large amounts of text. Imagine curling up on the couch with a cup of tea and a knitting project, with Cardigan keeping you company as you dive into your latest pattern. The italics are particularly lovely, adding a naturalistic touch without being showy or over-the-top. And let’s not forget about the three available weights—Cardigan has you covered, no matter how bold or subtle you want your text to be. Whether you’re designing a cozy sweater pattern or a blog post about the latest knitting trends, Cardigan is the perfect font choice to add a touch of warmth and comfort to your project. Embrace the cozy, comforting feeling of Cardigan and let it become a staple in your font collection today! 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.

CONCEPT/ CHARACTERISTICS A display font that allows you to »Kleckern und Klotzen« (modified German proverb »to not take half-measures«) The fat and square character to the font, a bold and loud statement. The motto is square, practical, fat. The font styles ranging from high-contrast line difference "beanpole" over mediocrity "slim" to the fattest and blackest "okay" style. A font with humor ^^ APPLICATION AREA The modern, square lightweight »Fat Wear Shirt« would be happy as a display typeface in headline size on the following areas and would find this very real bold: Edi­to­rial Design (Maga­zine or Fan­zine) or Web­de­sign (Head­line Web­font for your web­site), party flyer, movie pos­ter, music pos­ter, clothing, fashion, t-shirts, music covers or web­ban­ner. And and and… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Fat Techno Font »Wear Fat Shirt« Open­Type Font (Mac + Win) with 3 styles (okay, slim, beanpole) & 268 gly­phs. Alter­na­tive let­ters and liga­tures (with accents & €) Desk­top Font (.otf) + Web Font (.svg, .eot, .woff) KONZEPT/BESONDERHEITEN Eine Display-Schrift bei der Kleckern und Klotzen erlaubt ist! (Verändertes deutsches Sprichwort »nicht kleckern sondern klotzen«) Der fette und eckige Charakter verleihen der Schrift eine plakative und laute Aussage. Das Motto lautet quadratisch, praktisch, fett. Die Schriftschnitte reichen von kontrastreichen Linienunterschied »beanpole«, über mittelmaß »slim« bis zum fettesten und schwärzesten »okay« Style. Eine Schrift mit Humor ^^ EINSATZGEBIETE Das moderne, quadratische Leichtgewicht »Wear Fat Shirt«, würde sich als Aus­zeich­nungs­schrift in Head­line­größe über fol­gende Ein­satz­ge­biete sehr freuen und fände dies echt fett: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten ­Co­ver, CD-Cover und Icon Design, Pla­kat­ De­sign, Kleidung, T-Shirts, Comics und Gra­phic­no­vels, Game– und Video­spiel Design aller Gen­res, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Fat Techno Font »Wear Fat Shirt« Open­Type Font (Mac + Win) mit 3 Schrift­schnit­ten (okay, slim, beanpole) & 268 Gly­phen. Inkl. dia­kri­ti­sches Zei­chen, alter­na­tive Buch­sta­ben, Liga­tu­ren & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff)

Unleash the Power of Motion and Speed with the ApexPro font – a dynamic, sporty font designed for those who crave action, speed, and innovation. This typeface is meticulously crafted to embody the essence of the automotive world, fitness, and cutting-edge technology. Key Features: Style: The ApexPro boasts a rounded and soft appearance with bold, italic, and slashed elements, giving it a sporty and energetic vibe. The letters are carefully crafted, providing a clean and sharp visual for maximum impact. Design Elements: Inspired by the sleek lines of high-speed vehicles, the font carries a rounded, beveled, and cutout aesthetic, adding a touch of modernity and innovation. The use of military and stencil elements infuses a sense of power and dynamism. Versatility: The ApexPro is not just a font; it's a statement. Perfect for automotive enthusiasts, gym-goers, and tech aficionados, it seamlessly blends into various contexts such as sports events, gaming interfaces, and futuristic designs. Target Audience: The ApexPro is tailored for individuals who appreciate the fusion of technology, speed, and style. The target audience includes: Age: 18-35, seeking dynamic and trendy design elements. Gender: Unisex, appealing to both males and females. Needs: Graphic designers, gamers, fitness brands, and automotive enthusiasts looking for a font that embodies speed and action. Why the ApexPro font? For Speed Enthusiasts: The ApexPro brings the thrill of high-speed action to your designs. For Fitness Brands: Reflect the energy and dynamism of your fitness brand with the ApexPro. For Gaming Interfaces: Elevate your gaming experience with a font that resonates with movement and power. File Inclusions: Languages Covered: Multilingual support for a global audience. Numbers, Symbols, and Punctuation: A comprehensive set for versatile use. Lowercase Letters: Lowercase letters for a balanced and cohesive look. Fuel your creativity with the ApexPro – the font that doesn't just communicate, but accelerates your message. Download now for an experience that goes beyond the ordinary.

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova. Forsberg (1914–1995) is considered one of Sweden’s most masterful graphic designers, and his original Berling has come to be seen as possibly the most definitive Swedish typeface. But a redesign was necessary in order to secure that the spirit of Berling would survive in the digital age. Linotype, the distributor of the original Berling™ , provided its collection of source materials to the designers working on Berling Nova. Additionally, Akira Kobayashi — Linotype’s Type Director — lent them his advice as their project advanced. Berling Nova is available in two optical sizes: Text and Display. The original Berling was a classic Renaissance roman face, with fine terminals and sharp, beak-like serifs. If one looks at Berling’s old lead type proofs in the smaller type sizes, it is clear that these had a fuller and more readable form than in later digital versions. So, in order to help return the new Berling Nova to its original splendor, both the base forms and the serifs were softened and inflated. In the text version, the x-height has been increased a bit (by 4%), the diagonal axis is less apparent, and special glyph ranges, such as those for small caps and old style figures, have been included in the font’s character sets. The display version still has the unmistakable “Berling” character that displays Forsberg’s mastery. Berling Nova is well suited for longer text passages in books, publications, and magazines. This typeface fulfils all the demands that one can make on a legible newspaper typeface. Access to both text and display versions are important to the demanding typographer. This is the first time since the typeface was digitalized that it is possible to use it in order to create truly beautiful and functional typography in all type sizes.

Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

Introducing the stylized Miluero family. Graceful cut, rounded corners combined with austere shapes. Accent fonts with color padding and a classic basic monochrome version in the set. Perfect for logos, headlines and captions. Looks elegant in a minimalist modern design. An assortment of colors will help you get started quickly. This font family is based on the Regular font Pacardo - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Miluero Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different forms. - Color in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Basel Neue is the complete redesign of BaselSans ITD font, the first typeface of Isaco Type foundry, launched in 2009. As with the predecessor version, Basel Neue is a legible and discrete typeface, a sans serif with thickness variation and humanistic touch. The family consists of 8 styles, 4 weights plus their respective italic versions. Download the “OT Features” pdf to know and take advantage of all font features as best as possible (in OpenType-savvy applications)! You can also view all symbols in the glyph panel of your program, or in Character Map tool (Win) or Character Viewer/Palette (Mac). 1) Basel Neue has ligatures strategically chosen. Herbert S. Zim, in the book “Codes and secret writing”, elected the most common letter pairs of English, that in the Basel Neue became discretionary ligatures. And, of course, it also has standard ligatures. 2) It’s a fun typeface. Basel Neue has a set of emoticons and fun symbols that can be activated by discretionary ligatures. Type “:-)” and a smileface appears. Type “8-)” and a smiley with glasses appears. Type “ ”, “ ” and “ ” and a telephone, star and heart appears. Or “ ”... and a graceful corresponding symbol will appear. 3) Basel Neue contains lots of useful glyphs and features. All versions have 12 recycling symbols, 7 to different types of plastic, and over 30 currency symbols. It also has fractions, old style-, lining-, tabular numbers and other OpenType features. 4) It has an organized and large character set. The fonts have extended character set to support CE, Baltic, Turkish as well as Western European languages. If you work with languages ​​like Catalan, German, Croatian, Romanian, Dutch, Turkish, for example, the font will use the correct ligatures or characters used in these languages. 5) It’s rigorously tested. Basel Neue is available in OpenType PS e TT flavors and each version undergoes a battery of tests, with a systematic review of nodes, curves, spacing and internal data. This eliminates the possibility of errors in the font.

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

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

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

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

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

In the history of 20th century graphic arts, the evolution of the informal sans serif has been a uniquely American phenomenon. The ongoing saga of this (still as popular as ever) sub-genre dates back to the maturity of the Industrial Age and early Hollywood film titling, runs through the prosperous times of interwar print publications, sees mass flourishing during the various media propagations of the film type era, and solidifies itself as arguably the most common design element in the latter years of the century. Fun, bouncy, playful, and highly exciting, the casual sans serif is now all over game packaging, film and animation titles, book covers, food boxes, concert posters, and pretty much everywhere design aims to induce excitement about a product or an event. The casual sans is the natural high pill of typesetting. We figured it was high time for the casual sans to adapt to 21st century technology, gain more versatility, and become as much fun to use as the emotions it triggers. So we’re quite excited to issue Bananas, a fun sans serif family in 6 weights and 3 widths that can be used anywhere your designer’s imagination can take you. Rather than being based on a single design, Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners’ Catalina and its very similar cousin, Letter Graphics’ Carmel, served as initial study points. Then a few Dave West designs informed the design development and weighting process, before narrow and wide takes were sketched out and included in the family. The entire development process happened in a highly precise interpolative environment. All Bananas fonts come with a full glyph complement supporting the majority of Latin languages, as well as five sets of figures, automatic fractions, quite a few ligatures, biform/unicase shapes and other stylistic alternates.

Introducing Sixty Niners - a retro display font that draws inspiration from unique typography and lettering found in vintage magazines, combined with modern typography styles. This font features modern ligatures that allow you to create beautiful lettering and artwork. With its open type features, including a variety of alternates and end swashes, Sixty Niners provides ample options for customization and creativity. Sixty Niners is perfect for a wide range of design purposes, including logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media posts, greeting cards, and more. Its distinctive retro style adds a touch of nostalgia and elegance to your designs, making them stand out and capture attention. To access the alternate glyphs in Sixty Niners, you can use design programs that support OpenType features, such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. This allows you to easily switch between uppercase and lowercase letters, apply alternates and ligatures, and create unique and customized lettering compositions that suit your design needs. In your zip package, you'll find the Sixty Niners font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Sixty Niners also offers multilingual support, making it accessible for designers around the world to create designs in different languages. Whether you're designing for English, Spanish, French, or any other language, Sixty Niners has got you covered. In summary, Sixty Niners is a retro display font that combines vintage and modern typography styles, providing a unique and elegant look to your designs. With its open type features, multilingual support, and versatile design options, Sixty Niners is perfect for various design purposes. So, elevate your designs with Sixty Niners and create stunning artwork that captures attention and stands out from the crowd! Thank you for choosing Sixty Niners from our collection. Happy designing!

Ambiguity is a type family with five distinct personalities or ‘states’, created as a tool for coaxing designers and brands out of their comfort zone. It embraces both tradition and radicality, as well as generosity and thrift, encouraging us to question our beliefs about the intersection of style and meaning. The family is designed by Charles Nix, who describes Ambiguity as “as much thought experiment as typeface.” Its five states—Tradition, Radical, Thrift, Generous and Normate—each express or subvert different aspects of typographic tradition. Tradition is conservative, relying on historical letter shapes. Radical rejects inherited ideas of proportion, making typically slender letterforms wide, and wide letterforms slender. “It’s contrarian,” says Nix. Thrift cherry picks the condensed shapes from Tradition and Radical, while Generous does the same for wide forms. Normate sits at the center, a synthetic blend of all of the others. “Tradition is very comforting,” says Nix. “It’s the mask of conservatism. It’s calming because it delivers the proportions we expect. With Thrift more fits into a smaller space, so it’s great where words want to get large, like gigantic headlines, or text needs to cram in, like small screen type. You get a sense of carefree and luxury from the Generous cut. One would expect the Radical to be used in a sort of Dadaist way, but in a classic context it provides an enjoyable jolt.” Ambiguity is a litmus test. Designers could spend hours trying on typefaces that offer just one of these voices. Ambiguity provides five different personalities—ideas—beliefs—each of which also work seamlessly together. “It’s a palettea, like idea cards,” he says. “It’s a way of making yourself see differently. My hope is that traditionalists will try on radical clothes and vice versa. It’s a way of exploring outside your comfort zone, breaking out of the doldrums, by stepping through a variety of voices.”

Anglecia Pro is an exquisite and versatile system of three transitional serif typefaces designed to work together in editorial design. Sharing the same skeleton, vertical axis, and trapezoidal uncurved serifs, each of these faces bears different key dimensions and different contrast typical for three different type epochs. Anglecia Pro Text is a typeface designed for general typesetting in average reading sizes. Although it features a vertical axis, its soft skeleton, relatively small x-height and prominent ascenders and descenders give the typesetting a traditional warm texture with a slight contemporary touch. Anglecia Pro Title incorporates proportions of familiar transitional serif typefaces but exposes higher-than-average vertical contrast which makes it useful for setting captions, pull quotes or general purpose text in sizes of 12 pt and above. Anglecia Pro Display, still having non-rectangular serifs and the same soft skeleton as the rest of Anglecia Pro system, features extreme contrast, much thinner serifs and exaggerated ball terminals typical for Didone modern serif families. Its large x-height and tighter letter spacing suggests larger text sizes e.g. in decorative headlines, extra large pull quotes or logos. Altogether these three typefaces form 36 styles – each supporting numerous Latin-based languages as well as major Cyrillic languages. In roman styles the Cyrillic script comes in two flavours accessible via OpenType alternates – to choose either more traditional and curvy (default) or more formal and rigid type texture. In italics this feature affects uppercase and small caps. Also, each style is packed with OpenType features: ligatures, small caps, six sets of digits, superiors and inferiors, fractions, ordinals, and respective punctuation varieties including all-cap punctuation. There are also language-specific alternates for Polish kreska, Romanian Ș/ș, Catalan punt volat, and correct small-cap versions for Turkish/Azerbaijani i/ı. Some of the styles of Anglecia Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Youth Heritage Font is a vintage bold script font that pays homage to the rich visual heritage associated with youthful exuberance and retro aesthetics , This typeface combines bold, expressive strokes with a script style reminiscent of classic hand-lettering from bygone eras, capturing the spirit of vintage design. Here's a detailed explanation of the key features and characteristics of the Youth Heritage Font: Features: Vintage Aesthetics: The Youth Heritage Font is designed to evoke a sense of nostalgia, drawing inspiration from vintage typography prevalent during the mid-20th century, Its design elements reflect the bold and charismatic lettering styles associated with retro signage and advertising. Bold and Expressive Strokes: One of the defining features of this font is its bold and expressive strokes. Each letter is crafted with confidence, making a strong visual impact. This characteristic contributes to the font's ability to command attention and stand out in various design applications. Script Style: The script style of the font imparts a handwritten and personalized feel. The cursive letterforms flow seamlessly, creating a sense of dynamism and adding a touch of informality to the overall design. Distinctive Lettering: Each letter in the font is crafted with attention to detail, featuring unique and distinctive characteristics. This ensures that the font maintains its individuality and offers a distinct typographic personality. Applications: Vintage Branding: The Youth Heritage Font is well-suited for vintage branding projects. Apparel Design: Designers in the fashion industry can leverage this font for apparel branding and graphic designs. Its bold script style adds a retro flair to T-shirts, hoodies, and other clothing items, giving them a timeless and stylish appeal. Retro Signage: The bold and expressive nature of the font makes it a perfect choice for retro signage and display purposes. Event Posters and Flyers: When designing promotional materials for events, concerts, or parties with a vintage theme, the Youth Heritage Font can contribute to a cohesive and visually appealing poster or flyer design. Social Media Graphics: Its bold and expressive script style can make posts and announcements more engaging and shareable.

In a world where typography can often feel stale and unremarkable, Clipwave bursts onto the scene like a futuristic comet streaking across the sky. With its laser-trace letterforms and robot floor cleaner tracking patterns, Clipwave is a quirky, offbeat display typeface that’s sure to make a bold statement. But Clipwave is more than just a pretty face. Thanks to its OpenType ligatures, this font is able to shuffle permutations of alphanumeric characters to create a pseudorandomized effect that adds an extra layer of creativity and dynamism to your designs. Whether you’re looking to create eye-catching headlines, attention-grabbing logos, or just want to inject some personality into your typography, Clipwave is the perfect tool for the job. This font will help you communicate your message in a distinctive, creative voice that’s sure to set you apart from the crowd. So why settle for boring, conventional typography when you can embrace the bold, unconventional spirit of Clipwave? Give your designs the edge they deserve and experience the future of typography today. 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 Fenwick—a typeface that pays homage to Ontario’s rich heritage. With its unique take on late-nineteenth-century sans-serif typefaces, Fenwick is a perfect addition to any vintage-themed graphic design project. At first glance, Fenwick may resemble old-fashioned gothic typefaces, but upon closer inspection, you’ll notice its inspiration from once-popular serif display fonts and elegant clock digits. Fenwick’s unique design blends the best of both worlds, resulting in a timeless font that captures the essence of a bygone era. For added authenticity, Fenwick features proportional old-style numerals that can be easily accessed in OpenType-friendly applications. The typeface is available in Light, Light-Italic, Regular, Italic, Bold, Bold-Italic, and an engraved all-caps style, giving you the flexibility to use Fenwick in a variety of contexts. Whether you’re designing a vintage-inspired logo or creating a custom poster, Fenwick is the perfect typeface to add a touch of Ontario’s heritage to your project. So why not give Fenwick a try and see how it can elevate your designs to new heights? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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

As one of the most popular rock bands of the world, Foreigner has rocked the charts with 10 multi-platinum albums and sixteen top 30 hits in the last 40 years. But one might ask what a band this successful has been missing all these years? No head games here...a consistent typeface based on their logo is the answer. As fans of Foreigner, we've taken the essence of their iconic logotype and expanded it out into a full typeface in regular and bold weights to celebrate their 40th anniversary tour. The Jukebox Hero Family celebrates the typographic stylings of Foreigner, with the soft rounded terminals and an open geometric feel, including the unique stencil flavor of the original logo. It inherited the friendly stylings of the all Capitals logo that inspired it, and goes on to include a full standard character set with expansive international support of latin based languages, and two weights jumping from regular to a beefy bold. This family is ready to rock the charts for your designs towards that of a modern, comfortable appeal. Here's what's included with Jukebox Hero Family bundle: 413 glyphs - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 3rd graphic for a preview of the characters included) 2 weights: Regular & Bold. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why Jukebox Hero Family bundle is for you: You're a die-hard Foreigner fan, and have a case of "Double Vision" and need both font weights. You're looking for a stylish and sophisticated soft sans-serif stencil typeface family. You've been waiting for fonts like these. You're looking for a Sci-fi vibe typeface that has a look that feels familiar. You just like to collect quality fonts to add to your design arsenal