💥Introducing "Electrone" – Unleash the Power of Typography with a Superhero Flair! Unleash the electrifying energy of "Electrone," a dynamic font that embodies the essence of superheroes with lightning speed, unmatched strength, and a dash of style. This font is not just a typeface; it's a superpower for your design projects! Key Features: Electrifying Glyphs: With 890 meticulously crafted glyphs, "Electrone" offers a vast array of characters that will add a powerful punch to your designs. Every glyph is a superhero in its own right. Sided Ligature: Seamlessly blend characters with our specially designed sided ligatures, creating a visual impact that resonates with strength and unity. Alternate Characters: Customize your text with alternate characters to give your designs a unique and personalized touch. The alternates are carefully curated to ensure versatility without compromising the superhero aesthetic. Lightning Swash: Add a bolt of energy to your typography with lightning swashes that strike through your text. Watch your words come to life with the electrifying force of "Electrone." Wings of Typography: Elevate your designs to new heights with the winged elements included in "Electrone." These wings symbolize the freedom and power associated with superheroes, making your text soar above the ordinary. Suit Up Your Designs: "Electrone" is not just a font; it's a complete superhero costume for your words. Whether you're working on comic book titles, posters, logos, or any design that demands a bold statement, "Electrone" is here to save the day. Perfect for: Comic Books and Graphic Novels Superhero Movie Posters Action-packed Logos Gaming Graphics Apparel Design and more! Embrace the electrifying power of "Electrone" and turn your designs into epic adventures. Download now and witness the transformation of ordinary into extraordinary!

The Dellgado is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Dellgado provides alternative variants of most fonts, binders and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, paragraphs, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. The Dellgado includes various language support. It features OpenType with alternative styles and elegant binders. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Regards Mova Pista

Introducing Toughton Handwritten Font Unveil the beauty of handwritten elegance with Toughton, a font that breathes life into your creative projects. Designed to capture the essence of human touch, Toughton transforms words into a poetic dance of strokes and curves. The Art of Personalization Toughton isn't just a font; it's a journey through the art of personalization. Whether you're crafting wedding invitations, designing branding materials, or adding a human touch to your digital creations, Toughton's unique character will infuse your work with warmth and authenticity. Timeless Appeal With a timeless appeal that transcends trends, Toughton embraces the charm of handwritten script. Its fluid strokes and carefully crafted ligatures ensure that every word flows effortlessly, making it the perfect choice for projects that demand elegance and readability. Versatile Application From logos to social media graphics, packaging to editorial designs, Toughton adapts seamlessly to a variety of design contexts. Let your imagination run wild as you explore the versatility of this handwritten gem. Features and Functionality OpenType Features: Toughton comes with a set of OpenType features, including ligatures and alternates, to add depth and character to your text. Multilingual Support: Express yourself in various languages with Toughton's extensive multilingual support. Web and Print Ready: Whether it's for web design or print publications, Toughton is optimized for both digital and physical mediums. Elevate Your Creations Elevate your design game with Toughton Handwritten Font. It's not just a font; it's an artistic tool that allows you to tell your story with flair, grace, and a touch of humanity. Unlock the potential of your creative projects and make your message resonate with the world. Experience the magic of handwritten authenticity. Get Toughton today and let your words dance with elegance.

Welcome to the world of Stampoo, where creativity meets typography. This isn’t your run-of-the-mill typeface—this is a joyful, wild, and curvaceous font that is guaranteed to make your words pop. When you use Stampoo, your message will be transformed from a mundane statement to a laid-back expression of kindness. It’s like giving your words a warm hug, but without the awkwardness of physical contact. The rubber stamp letterforms are as natural as the grass under your feet, and the bespoke pairs will make your text flow like a mountain stream. But Stampoo isn’t just a pretty face. Oh no! This font is a true workhorse, designed to make your life easier. With OpenType ligatures, those tricky letter combinations are replaced by bespoke pairs, making your text look more natural and realistic. It’s like having a personal typographer at your fingertips, without the exorbitant hourly rate. So why settle for boring, run-of-the-mill typography when you can have the natural, creative, and joyful letterforms of Stampoo? Add a touch of whimsy to your next project, and let Stampoo do the heavy lifting. Your audience will thank you for it. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

This is Bolyar Sans font family. For us it is a dream-come-true. It took more than 1 year hard work to transform the existing Bolyar Pro from Serif to Sans Serif version. The result really surprised even us from The Fontmaker and we decided to develop it in 9 instead of 7 weights. So at the end we created 7 different styles of Bolyar sans each consisting from 9 precise weights. Bolyar Sans is not just another font family in our portfolio - it is the essence from all our efforts thru the past 5 years to create a powerful type tool that could easily meet very diverse and complex demands of modern design. Furthermore, like all its predecessors, Bolyar Sans is a type concept created by Designers for Designers. If you are in wine and spirits industry, packaging design, or you just love to work with strong headlines that effortlessly could turn into brand logos, then you should definitely try our Bolyar Sans. It is designed for this. Of course there are plenty of different features like multilingual support, ligatures, alternates, we even added adaptive over- and underlining to make it even more complex in its use. Bolyar Sans pairs perfectly with other members of Bolyar Family - Pro , Ornate and Typecraft . So as you see Bolyar is developed as a type platform with own character and style. By using it you could be vintage, classic, modern, soft, even bold, rough and ornate. It is a visual bridge between different typographic periods united under Bolyar name. With our Sans version we aim to be contemporary and to provide powerful type tool to those designers who often love to swim between past and modernity.

"At last, something beautiful you can truly own!" This is the first Persian Arabic & Latin COLOR font ever designed! Chromatic or Color fonts are fairly new. And Persian Arabic color fonts are extremely rare. Here, you get a font that supports both Arabic and Latin! Rangarang [means colorful] font comes in with a wonderful color set and variety in forms. Every single glyph has a unique palette of colors. If you look closely at the glyphs, you'll see complex paths and connections in every single one of them. Each glyph could be seen as a typographic artwork! Rangarang font is great for entertainment design, posters, business cards, website titles, magazine illustrations, logotypes, book covers, banners, billboards,... There are countless options! Notes: - SVG fonts contain vector letters with gradients and transparency. - These fonts will show up 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 and their support in third-party apps on: www.colorfonts.wtf - Don't worry about what you see here in the preview section in your browser. You may see the glyphs in black here, but this font is working EXACTLY how you can see it in the font pictures I put here. So if you use it in apps that support colored fonts, you can be sure that after installing the font on the system you will be able to use it like every other font. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh and Hezareh text and headline fonts, Yaddasht and Yadgar handwriting fonts,... already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Persian Arabic communities.

TextTile is a system of heavy sans titling faces which can be utilized to carry a repeating chromatic pattern across words and letters. It stands apart from other chromatic faces, where layered effects typically interact only within each letter and do not carry through from one letter to another. The pattern repetition across letters of varying widths is achieved through OpenType substitution, using conditional alternates for each successive letter to allow for a seamless appearance across words, regardless of letter combinations. Though the pattern exists on a strict grid and the letters' widths and spacing must be highly regular in order to preserve the pattern repeat, the letterforms themselves are not rigid; rather, they appear organic, lively. The initial release includes patterns inspired by a classic buffalo plaid, separated into its horizontal and vertical components to maximize the creative possibilities for layering one-, two-, three-, and even four-color plaid patterns. Kits are available to produce the plaid pattern in detail—with overlapping diagonal hatching fully visible—or as a simplified version in which transparency can be used to simulate plaid or to create a checkered or striped effect. The TextTile family of fonts is a flexible canvas for mixing and matching a broad array of patterns to create a unique look. Check back for more pattern releases and take a look at the online specimen to see what is possible with the current offerings. Usage Notes For best results use an OpenType aware program. Enabling Contextual Alternates will ensure pattern alignment. For patterns that are made up of vertical stripes or columns using the Stylistic Alternate/Stylistic Set 1 will shift the columns. Stylistic Set 2 will change 1-0 into blocks of patterns.

Introducing color Retro font family. Modern retro design dictates its own rules and graphic techniques - one of which is fonts with outlines. Retroline font family embodies this. 4 fonts with black stroke and white fill, and 4 fonts with only black stroke are perfect for retro illustrations. Color scheme of colored fonts is convenient and easy to recolor in graphics programs. Retroline fits comic illustrations or designs from the 90s Features: 8 fonts in family: - 4 color fonts with fill & outline - 4 fonts with outline only 2 weights of fonts 2 weight of outline Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF 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 OTF | TTF 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

Introducing Slow Moon - The Retro Display Font with Timeless Elegance Unveil the beauty of bygone eras with Slow Moon, a font that encapsulates the essence of retro design while offering an extensive range of dynamic alternatives and ligatures. With 976 meticulously crafted character glyphs, multilingual support, and PUA Unicode, Slow Moon is the quintessential choice for designers seeking to infuse a touch of nostalgia into their projects. Key Features: Timeless Retro Charm: Slow Moon embodies the spirit of the past, bringing to life the aesthetics of vintage signage and typography. Its classic appeal effortlessly transports your audience back to the golden days of design. Dynamic Alternatives and Ligatures: Slow Moon is not just a font; it’s a design toolkit. With an array of dynamic alternatives and ligatures, you can create eye-catching compositions that seamlessly flow from one character to the next. This feature allows you to achieve a genuinely unique and handcrafted look. 976 Unique Glyphs: Slow Moon’s extensive character set ensures that you’ll have the perfect letterform for any project. From decorative swirls to bold serifs, every character is designed with precision and care. Multilingual Support: In our globalized world, Slow Moon understands the importance of inclusivity. It offers multilingual support, making it versatile for projects spanning multiple languages and regions. PUA Unicode: Slow Moon is equipped with Private Use Area (PUA) Unicode encoding. This feature simplifies the process of accessing alternate characters and ligatures in various design software, enabling smooth integration into your creative workflow. Ideal for a Range of Applications: Slow Moon is the perfect choice for a myriad of design projects. Whether you’re crafting vintage-inspired posters, retro-themed branding, stylish packaging, or captivating web graphics, this font will lend an air of sophistication to your work. Its versatility allows it to effortlessly transition from glamorous and elegant to rugged and bold, depending on your creative vision. Get Creative with Slow Moon: Indulge in the allure of a bygone era and elevate your designs with Slow Moon. Its exquisite blend of retro charm, dynamic alternatives, ligatures, and extensive character set will empower you to create typography that stands the test of time. Whether you’re a seasoned designer or just starting your creative journey, Slow Moon is your trusted partner in delivering unique and unforgettable designs. Don’t wait to embark on a design journey that captures the magic of yesteryears. Choose Slow Moon and let your creativity shine in the soft, enchanting glow of nostalgia.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

Come one, come all, and see the beauty of Strange Alphabets. Inspired by the gilded book covers of the late 1800s and the iconic Siouxsie & the Banshees band logo of the early 1980s, this narrow Arts & Crafts typeface will transport you to another world. In OpenType savvy applications, the first and last letter of a word will receive a small diamond ornament, giving your words a touch of elegance. And if that’s not enough for you, words starting with M will have a single diamond that splits into three, while words starting with O will automatically use a tall O. But, if you want to force a tall O in the middle of a word, simply use a zero. Oolong lovers, rejoice! Words that begin with double O’s will receive a pair of tall O’s, while a pair of O’s in the middle or at the end of a word will be replaced by a linked ring ligature. But that’s not all! Accessing OpenType stylistic alternates allows you to change the A and H crossbars into small rings and remove all the diamonds from the M. And don’t forget about the hyphen, en dash, and em dash, which are replaced with ring ornaments. And if you’re feeling extra fancy, a separate diamond ornament ◆ is included under Unicode 25C6. Don’t let all these fancy features intimidate you. Play with your application’s OpenType features and see what happens. And if you want to disable the automatic OpenType substitutions, simply turn off your application’s standard ligatures feature. Experience the beauty of Strange Alphabets for yourself and let your words take on a life of their own. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The world of typography has been forever transformed by the innovative and avant-garde typeface that is Silicone. Its unique, all-caps letterforms embody the futuristic essence that forward-thinking graphic designers crave. Silicone is a synthetic typeface that boasts a smooth, sleek surface with soft strokes and letterforms that will captivate the viewer’s attention. Each letter has been meticulously crafted to evoke a sense of calm and sophistication. With seven weights available, Silicone is a versatile typeface that can be tailored to meet the demands of any design project. Whether you need a chunky weight for a bold headline or a laser-thin weight for delicate body text, Silicone has got you covered. And let’s not forget about the italics! With its own distinct style, the italics add a touch of elegance and refinement to any composition. Silicone is more than just a typeface, it’s a high-tech voice that communicates your message with precision and style. Don’t settle for ordinary when you can elevate your designs to the extraordinary with Silicone. 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.

Originally conceived while sketching outline typefaces for a client, Minotte Pro has blossomed into a font one thousand glyphs strong and is chock full of alternates and contextual swashes! By enabling swashes, style sets, and contextual alternates in your OpenType savvy application, headlines and text set with Minotte Pro will transform into unique combinations of initial, middle and final swash forms! There’s also an alternate Cap set with a partial fill for even greater variety! Perfect for travel ad headlines, Minotte Pro adds a light, carefree touch. If your app doesn't support OpenType, then check out the split out versions, Minotte, Minotte Swash, Minotte Fil and Minotte Swash Fil. Minotte Pro Minotte Solid Pro contain these OpenType features: Contextual Swashes, Stylistic Alternates, Standard & Discretionary Ligatures, 6 Style Sets, Superiors & Inferiors, Fractions and Ornaments. The Minotte Extras Pro Pak includes three chromatic effects fonts, Minotte Center, Minotte Gradient and Minotte Shadow. These Extras fonts are intended to be used with Minotte Pro and Minotte Solid Pro, allowing colorizing and 3-D shadow effects. There are numerous combinations when using all three together! The three Extras fonts support the entire Pro character set and all OpenType features! Intended for users that do not own or use OpenType savvy apps, the four alternative fonts capture the best of the Pro version and will provide you with the glyphs needed to duplicate some of Minotte Pro’s typographic richness. Minotte and Minotte Fil are fully usable, whereas the Minotte Swash and Minotte Swash Fil are intended to work in tandem with the basic Minotte fonts. Set your headlines and text in Minotte, then switch to Minotte Swash and manually select the appropriate swash glyphs. Switch to either of the Fil fonts for full sets of Cap alternates sporting a partial fill. Minotte Pro, Minotte, Minotte Fil, Minotte Swash and Minotte Swash Fil support an extended European character set.

Rahere Roman Display is an elegant design with flared stems and subtle old style features, influenced by Berthold Wolpe’s wonderful Albertus font and (to a lesser extent) fonts based on Roman square capitals. It’s a classic design for the modern age, appealing to serious typographers, graphic designers and anyone looking for a beautiful, multipurpose font that also offers value for money. Originally conceived as a display companion for the Rahere Sans typeface family, Rahere Roman harmonizes perfectly with its sans counterpart: use it for headings, sub-headings or pull-out quotes. Want an eye-catching introduction? The small caps have been sized to optically align with the x-height of Rahere Sans or start a paragraph with a swash drop cap. There are also ornaments and devices on hand to spice things up. Of course, Rahere Roman Display works beautifully as a standalone font too. Although predominantly a display font, with a quick flick of its lowercase switch, Rahere Roman transforms effortlessly into a readable text font. Like a Swiss Army Knife, this is a hugely versatile font, capable of conveying different messages from classic and romantic to historical and modern. It’s suitable for a wide range of applications including: branding, posters, advertising, packaging, labels, signage, wedding stationery, museums, art galleries and book covers. Weighing in at well over 2,000 glyphs, Rahere Roman contains a myriad of alternative characters (mostly capitals) including two sets of small caps that allow certain letter combinations - such as RO, LA, LI, TY, etc. - to mimic ligatures. The advantage of this is that if letter spacing is increased or decreased, the letter combinations aren’t fixed and can move too, which helps the space between letters to remain even. However, for lovers of ligatures there is still a bucketload of goodies to play with, including the obligatory ‘OO’ ligature. If that’s not enough, the font also contains start & end swashes, alternative numerals, seven ampersands, ornaments and devices. .ss01 - Initial swash capitals .ss06 - Superior small capitals (aligned to the cap height) .ss07 - Small capitals (sitting on the baseline)

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Bely is the first design by French newcomer Roxane Gataud. Too many typefaces are either governed by fear and never accomplish what they could, or are unrestrained which results in their frenetic dangling like a leaf caught in a spider’s web. Bely’s strength is that it has both restraint and freedom throughout the text weights and into the unique display weight. There is no fear in this type family, but only great respect for both the tradition of reading and the opportunity to make an impression. Bely is a high-class throwback containing four text weights which were built upon classical proportions to capitalise on reading familiarity. Bely Text features balanced capitals and a play between large, triangular serifs at the top and thick, bracketed, rectangular serifs at the bottom. The family is capped by a radical, expressive French-style display weight which pushes the rules of the text weights to their logical extreme. Bely Display, truly daring with its monstrous and angled contrast, exploits the features which make an impression at larger sizes. In the end, Bely Display is adventurous when used in packaging, identities, and headlines with attitude, while Bely Text’s calm baseline and piercing ascenders give paragraphs texture and familiarity. Bely covers the Latin A Extended glyph set and brings its sense of confidence to your projects with its two text weights, matching italics, and unique display style. Bely’s satisfying OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Bely family, along with our entire catalogue, has been optimised for today’s varied screen uses. Awards – Selected for TypeTogether’s Typeface Publishing Incentive Programme scholarship in 2014. – Selected by French magazine Étapes for the 2014 Diploma Issue. – Selected for the 2014 exhibition “TransFormations” at Centre Pompidou. — Received the SOTA catalyst Award 2016

10 years later, one of the first geometric typefaces in our portfolio and a popular favorite of yours is rising to a whole new level! We’re revealing the stand-alone type family Code Next—a staggering evolution from Code Pro in functionality, versatility, and application. The transformation includes 6 new weights, 10 new Italics, full support of Extended Cyrillic and Greek, full redesign and glyphs refinement, 2 variable fonts, to name but a few. Going back to 2011, the grotesque-inspired Code Pro was designed to complement memorable pieces that make a statement. Balancing between stylization and simplification, it was encoded with the distinct voice of basic organic shapes to stand the test of time. Little did we know, it would expand and live up to the potential of a “font from the future” as the new Code Next. Today, a type family of 22 styles, this geometric sans solidifies its relevance and carries a strong constructive aesthetic through simplified forms with a twist. These fit any modern design in print, web, and display visualization. Developed to go above and beyond, Code Next comes prepared for multi-script projects with Extended Latin, Extended Cyrillic, and Greek. Explore Code Next’s versatility and switch things up with the help of 2 variable fonts, more than 1280 glyphs, and an extensive OpenType features set including small caps, standard and discretionary ligatures, contextual and stylistic alternates, stylistic sets, case sensitive forms, and much more. Overview: • Font family of 22 fonts • 10 weights • Languages - Full support of Extended Latin; Extended Cyrillic; Greek • Entirely refined design and metrics • Glyph count - 1288 • Variable fonts - 2 fonts OpenType features: • Small Caps • Standard Ligatures • Discretionary Ligatures • Contextual Alternates • Stylistic Alternates • Stylistic Sets • Case-Sensitive Forms • Ordinals • Localized Forms • Lining Figures • Proportional Figures • Tabular Figures • Oldstyle Figures • Subscripts • Scientific Inferiors • Superscripts • Numerators and Denominators • Fractions • Roman figures • Extensive mathematical support • Navigation symbols

Type designers have been integrating the design of sans serifs with serifed forms since the 1920s. Early examples are Edward Johnston's design for the London Underground, and Eric Gill's Gill Sans. These were followed by Jan van Krimpen's Romulus Sans, Frederic Goudy's ITC Goudy Sans, Hermann Zapf's Optima, Hans Meier's Syntax and Adrian Frutiger's Frutiger. Now, ITC Stone Humanist joins this tradition. It is a careful blend of traditional sans serif shapes and classical serifed letterforms. ITC Stone Humanist grew out an experiment with the medium weight of ITC Stone Sans, a design that already showed a relationship to these sans serif-serif hybrids. ITC Stone Sans has proportions based on those of ITC Stone Serif, and its thick-and-thin stroke contrast suggests the bloodline of humanistic sans serif typefaces. But other aspects of ITC Stone Sans are more closely aligned to the gothics and grotesques, a tradition that accounts for the largest portion of sans serif designs. Enter ITC Stone Humanist. During his experiments with the earlier design, Sumner Stone recalls, I was actually quite surprised at how seemingly subtle changes transformed the face," moving the design firmly into the humanist tradition. "The form of the 'g,' 'l,' 'M,' 'W,' and more subtly the 'a' and 'e' are part of the restructuring of the family," he explains. The top endings of vertical lower case strokes have been cropped on an angle, as have the ascender and descender stroke endings. ITC Stone Humanist is a full-fledged member of the ITC Stone family. It has been produced with the same complement of weights, and the x-heights, proportions, and underlying character shapes are completely compatible with the three original designs. The original ITC Stone Sans is a popular typeface, in part because of its notable versatility. ITC Stone Humanist shares this virtue, and can be used successfully at very small sizes, in long passages of text copy, and even as billboard-sized display type."

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.

The futuristic innovation of Superego—the ultimate geometric-techno typeface that will revolutionize your message like never before. With its creative aesthetic, Superego is a powerful force inspired by the cabinet artwork of the 1981 arcade game, Stargate. With an unyielding sense of innovation and technological perfection, Superego features primitive geometric shapes and unconventional letterforms that are nothing short of extraordinary. Every single letter is crafted to perfection, making each message you create a work of art. Superego is more than just a typeface. It’s a testament to the future of design, a bold and daring statement that refuses to be silenced. Superego will elevate your message to new heights, bringing a unique and unexpected edge to your designs. This is not your average typeface. This is a transformative tool that will leave a lasting impression on anyone who encounters it. So join the revolution and experience the unparalleled power of Superego 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.

Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much. So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss. These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.

Film Fiction Semi Expanded has been updated and will now beautify your designs under the name TA Film Fiction Semi-X. We've already updated and revitalized TA Film Fiction Semi-X to ensure it perfectly matches your evolving creative vision. The inclusion of tabular figures, old-style figures and alternative glyphs expands your design palette and allows you to adapt the font to your unique style. TA Film Fiction Semi-X has been updated experience the appeal – this can be your font of choice to enhance your brand identity, cinematic efforts and editorial design. This brilliant typeface is not just a typographic tool, but a creative catalyst for headlines, logos, web elements, signage, posters and fashion apparel, packaging. TA Film Fiction Semi-X does not follow trends, it defines them, imbuing each project with a true modern essence. Embrace the possibilities with 9 different styles, each boasting a large set of 758 glyphs. Discover OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Subscript, Superscript, Tabular Figures TA Film Fiction Semi-X supports Khinalyg (Xınalıq) alphabet Test your alphabet, explore the nuances and witness the transformation. And if you're at any creative crossroads, I'm here for you. If you want to customize TA Film Fiction Semi-X, need font files or have any other questions, please reach out to me at t@taft.work. TA Film Fiction Semi-X be the cornerstone of your creative journey. Elevate your designs, embrace innovation and redefine possibilities with TA Film Fiction Semi-X, where each character tells a story. Questions? Contact us at t@taft.work Instagram @taft.work or @tural_a Visit us https://taft.work/

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Linear" for obvious reasons. The first "Alef" has a "fatha", this indicates that the name can be pronounced only one way, "AR-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is very clear and no letters overlap. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Ta & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran.

In 1459, while visiting his dying mother, Italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project. The resulting typeface system, designed by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini as a rework of Francesco Canovaro original Beatrix Antiqua, is a 50-weights ode to the beauty of classical roman letterforms, that pairs elegant alternates and quirky ligatures with an array of design options for clear and effective editorial, signage, logo and wayfinding design. The base display family, Monterchi, allows endless design expressions with a range of six weights from the slender thin to the strong extrabold, all with matching italics and an array of over one hundred discretionary ligatures. A fine-tuned companion Monterchi Text has been developed to excel in body use, with a larger x-height and wider spacing - clear and legible even at small sizes. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation. All the fifty fonts in the Monterchi Type System feature an extended character set of over 1100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open Type features include small caps, positional figures, alternate letterforms, stylistic sets and discretionary ligatures. With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty - still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

Stadtmitte is a grotesque font with a distinctly industrial flair. It is inspired on a reinterpretation of the Berlin’s vernacular signs and characters created under the DIN 1451 norm. By the early 1900s, german painters and sign makers started to spread this unmistakable way of font drawing used back then on freight trains. Such letter design was both very easy to read and build, hence it started to quickly spread until it became a standard in 1936 for highway signage. Stadtmitte is not aimed to be yet another literal remake of those drawings but rather a revision of shapes and concepts that seeks to transport us to Germany’s industrial way of creating and displaying information, therefore being suitable for a wide scope of design uses, considering its own nature and different available weights. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 618 characters with ligatures, alternates, small caps, old-style and tabular numbers, and case sensitive figures. It supports 219 Latin-based languages, spanning through 212 different countries. Stadtmitte supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi,

Silent films evoke a sense of nostalgia that is as timeless as the era itself. While the stars of silent cinema may have faded into the past, their influence is still felt in modern-day art, fashion, and design. Silentina is a typeface that embodies the spirit of the silent film era, inspired by the intertitles that were used to convey crucial information to audiences during these films. Buster Keaton, Mary Pickford, Clara Bow, and Rudolph Valentino all graced the silver screen with their emotive faces during the silent film era. These icons used their expressions to convey a range of emotions that captivated audiences and made them fall in love with the magic of cinema. Intertitles, the brief messages that would appear on-screen during the film, were just as essential in conveying information to moviegoers. Silentina is a typeface that pays homage to the unsung heroes of the silent film era—the intertitles. It channels the glitz and glamour of the roaring twenties, taking us back to a time of flapper dresses, jazz music, and speakeasies. But Silentina isn’t just a typeface—it’s a portal to another era. It transports us to a time when movies were an escape from reality, and each trip to the cinema was a chance to lose ourselves in a world of adventure and romance. With Silentina, you can project your message in the same way that the stars of silent cinema projected theirs. This typeface captures the essence of a bygone era, bringing it to life in the modern world. Use it to convey plot information, set the scene, or add a touch of vintage charm to your design. Whatever your message, Silentina will help you communicate it in the same glitzy way as the intertitles of the silent film era. 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.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Minimal" because of the minimal decoration and simplistic design. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "R-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is not only minimal in its design but easy to read, very few letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Random" because we don't follow any one principle to write the names, some overlap some don't, some letters are big and some are small. All the letters, harakat, decorative letters and symbols may differ from one name to another.(in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). Decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Straight" because of the straight like design. Everything is clear, symmetric and straight. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). We went for the traditional "soukoun" instead of the Quranic "soukoun" & the decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Kaf". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Elegant" because we thought this is the most elegant one we have designed. Everything is so clear, nothing overlaps, decorative symbols are not too much nor too little. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The "Ye" at the end of names doesn't have the two dots, and we used a decorative small letter "Ye". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. --------------------------------------------------------------------------------------------------------------------------- Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

SIAS opens a new chapter in Irish vernacular typography: the Andron-2-Irish font family. The genes of the insular typographic heritage have been blended with the timeless classical style of the versatile Andron series. Whereas most Irish-style fonts available more or less stick to ancient designs, Andron-2-EIR is different: it’s an entirely new design in which Irishness meets the beauty of a matured Venetian Roman text face. Envision a new horizon for setting Irish text in its own visual mode! Now you can utilize Italics, Semibold and Small capitals for Irish just as you have been doing in other languages for a long time. But the icing on the cake is the fifth font: Andron Irish Middlecase honours the rich medieval tradition of Ireland by a special uncial-style glyph set. It corresponds to the Andron MC series. Last but not least the Irish type connoisseur will relish this font package for it’s unique utilization of Opentype functionality. In Opentype-aware applications, by just ticking a box you can switch to the special insular forms of s and r. By ticking another box you can transform the text from modern-day orthography to the traditional spelling with lenited consonants. This built-in intelligence has never been implemented in any Irish font before. Briefly, the Opentype substitution features are: [Ligatures] – default basic f-ligatures; [Descretionary Ligatures] – more ligatures for typographic reason, mainly t- and long-s-combinations; [Style set 1] – turns all lowercase r and s into their insular glyph variants; [Style set 2] – replaces all consonant-h digraphs by dotted consonants (ḃċḋḟġṁṗṡẛṫ, ḂĊḊḞĠṀṖṠṪ), works for lowercase, uppercase and upper-lowercase alike; [Style set 3] – provides another range of additional special ligatures (for Regular and Italic only); [Oldstyle figures] – turns the default lining figures into proportional oldstyle figures. Andron Irish will also perfectly combine with every other Andron product in mixed settings. For an overview please go to the SIAS main page. For a quick reference go to Andron Latin, Andron Greek, Andron English or Andron MC. For more wonderful new Irish fonts look at Hibernica and Ardagh!

Introducing Quasix—the typeface that defies logic! With its compact industrial headline design, this font is the perfect choice for anyone looking to add an edge to their design work. But beware, its quirky design might have you scratching your head at first. Just like the inside of a machine, Quasix is full of moving parts, each with its own unique purpose—but don’t worry, you don’t have to be an engineer to appreciate its beauty. This typeface is perfect for those who want to convey the concept of engineering devices without using typical techno typefaces or cliche physical symbols like gears and bolts. Quasix will elevate your design to the next level, and its versatility makes it suitable for a range of themes, from retro to modern and even futuristic. Don’t be afraid to get creative with Quasix—this typeface was made to be bold and unconventional. Let it take center stage and watch as it transforms your design into something truly unique. Quasix defies convention and breaks the mold, making it the perfect choice for those who aren’t afraid to think outside the box. Try it out and see for yourself! 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.

Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.