An unconventional classicistic Roman typeface This Roman typeface has a livelier effect than is typical of the epoch of classicistic style. In the lower case letters, an echo of the smoother forms of historically early scripts is identifiable. Typical of a classicistic Roman typeface are the emphasized and clear contrast in the weight of the strokes, the fine serifs and the accentuation of the vertical bold stem. Charpentier Classicistique is pleasantly legible. Its effect is much less harsh than other classicistic fonts. The pointed forms of M and N are uncommon. At 30°, the italic version of Charpentier Classicistique is unusually strongly slanted. The italic lower case letters refer, in part, to English handwriting, which also falls under classicism. Especially the curves show forms influenced by writing. Charpentier Classicistique supports all European languages including Turkish, Greek and Russian. It includes lots of ligatures, also discretional ones, as well as tabular figures and cap-height figures.

Drop_it is a redesign of fonts originally created to be recognized by computers using OCR (optical character recognition) softwares. Strangely, human beings fell in love for the stylistic inconsistencies of these fonts made for machines. In small sizes, Drop_it emulates the appearance of fonts in antique operational systems monitors. In large sizes, its structure is composed of capsules and pills allude the universe of medicines, drugs and rave culture. Drop_it Dingbats follow the the same grid of its alphabetic version, and can be used side by side in sign projects. Besides the traditional symbols, it present specific images from the rave culture like DJ (Disc-Jockey) and VJ (Visual-Jockey). Drop_it italic set adds velocity to text compositions using six angle variations. All the fun starts with a very unusual Break version. Fall version is a kind of "anti-italic". Slow version put your text in another rhythm. Swing have a little italic emphasis. Italic is, you know, italic. And Speed version run away.

Tepuy is the name given to the ancient plateau-shaped mountains that abound in the Venezuelan Amazon. Tepuy is a display typeface inspired by the symbolic forms of the Venezuelan ethnic roots. It is constructed based on a very precise geometry of open forms that produce a double letter in form and counterform. Tepuy originates as an evolution curve of my Font Makiritare rectilinearly. Was devised for a book of photographs of the ancient mountains of the Venezuelan Amazon, its form and Makiritare are morphologically inspired crafts in the ethnic groups of the region. Tepuy is held in a very precise geometric construction based on rounded forms, each letter is a form envelope enclosing another in counterform, is a letter to display. Tepuy comes in four versions Regular, Light and thin, and there is a double line version enclosed. Tepuy recommended for creative headlines for the label and packaging design aimed at all ages.

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design. Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design. Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

VTF Ruth is a different typeface with a sans serif style inspired by classic geometric typefaces, adding a contemporary and modern touch in its output to seek style and quality in any project. This very personal character of its shapes, together with the variety of eighteen weights with their respective italics (Thin, Extra Light, Ultra Light, Light, Regular, SemiBold, Bold, Ultra Bold, and Black) and two styles, makes it perfect to combine with VTF Justina in digital editorial projects (e.g., web or apps) or printed (e.g., books, magazines or packaging). Making it an exciting option for large and small bodies without losing legibility at any weight. VTF Ruth has Opentype functions (case-sensitive forms, ordinals, scientific lower case, denominators, superscripts, subscripts, numerators, fractions) designed exclusively for your design. Supported languages: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish and Zulu.

BUNK is an 11 font system that can be layered in different ways to create various classic titling effects, think Old Timey signage 'COME IN WE'RE OPEN'. It's a display font that produces the different results by mixing and matching the various fonts together. Bunk's layer combos give you the control to create brilliant bevel, convex and 3-D styles. Each font contains the same metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. Unlike other Layered Fonts out there, BUNK has upper case and lower case as well as currency symbols and lots of foreign characters too. Over 180 glyphs!. Five of the fonts (Shades 1,2,3,4,5) are clearly dependent on each other to create a complete font, so theses are only available in the Full family pack (11 fonts) or in the Layer Kit Family pack (7 fonts).

Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use. This specific construction and the round forms of the letters create an elegant, soft and friendly appearance. The typeface suits a wide range of typography, e.g. editorial, brochures, packaging and corporate design. In particular, in bold weights it works surprisingly well, which is not always the case with serif faces. Marat includes oldstyle and lining figures (both proportional and tabular), a wide range of language support and various OpenType features (e.g. ligatures, case-sensitive forms, fractions, superiors and inferiors). It is the perfect companion for Marat Sans, a clean and lively sans serif typeface. Marat has been selected by the Type Directors Club of New York to receive the Certificate of Excellence in Type Design 2008.

NEW! Update 3.0 What’s New: • New Narrow version of 18 weights • Bulgarian Localization Support • Tabular Figures • Case-Sensitive Punctuation • Extended Glyph Case • Icon Sets PDF Specimen available: http://myfonts.us/suAc3K Panton has been expanded with Panton Narrow! It has 9 uprights and 9 matching italics ranging from Thin to Heavy. The Panton font family includes 54 fonts - 19 uprights with 19 matching italics and 16 icon sets as a bonus! It is characterized by excellent legibility in both web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc. Inspired by the classic grotesque typefaces - Panton has his own unique style, expressed in perfectly softened geometric forms. The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Panton font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters and logos.

A title font that looks better as larger the font size. First of all, it is designed for use in the upper-case format. Feature style: futurism, space, modernism, glyph variety (uniqueness (minimum automatic generation)). A kind of „s‟ in the lower-case format sets the tone and emphasizes the character, formed in the Prime Numbers Nebula — they determined its appearance, and influenced the style as a whole. Particular attention is paid to the kern: the kern table is formed manually, taking into account absolutely all the glyphs included in the font-family. Two types of stress (grave, acute) for all letter glyphs. The font contains basic Latin and several additional tables, as well as three types of quotation marks, a non-breaking space and a hyphen, a short, medium, and long dash. For a set of mathematical expressions there are centrifugal signs: equal, minus (not a hyphen or minus-hyphen), plus, multiplication (X-shaped and dot), plus-minus, division. The font was made for 3 years.

A sanserif with human touch in 6 fonts Angie Sans is a low contrast incised sans serif sharing some similarities with Optima by Hermann Zapf and Pascal by José Mendoza, both created at the end of the 50’s. The later, feature an italic not published by the initial foundry who launched Pascal. Angie Sans follow same path with its italic based on Chancery forms from the Renaissance, narrower than the roman shapes. With its capitals based on Roman proportions, lowercases featuring open counters, strong horizontals, Angie Sans is a legible typeface. The manual gesture is present in Angie Sans, which offer the plastic qualities such as warmth, craftmanship and humanity. Angie Sans is an Incised Garalde who works well for display as text settings. Available in 6 series, with matching italics, Angie Sans will work well in design projects where delicate and human touch is required. Angie Sans Morisawa Awards 1990

About family “SpathePro” Spathe(Sword) the guy… There are many versions of the expression spathe, some of them are: A guy who says things by name we say is a sword, is correct in explaining a situation or an event. Sometimes we say again that a woman is beautiful and has a body like a sword!! It is one of the four versions of the pack of cards for example "ace sword". We also say of someone that he won a case with his sword (his sword), with transparency and knowledge of the case. It is also one of the oldest weapons used by humans in wars, sometimes used by the defendants to resolve their differences or for reasons of honor. While even today it is an Olympic game as fencing. This is a font as sharp as a swordfish… This series is composed and includes ten fonts with 630 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Melina Plain and Melina Fancy are characterized by graceful lines, strong contrast and nostalgic overtones. These typefaces are patterned after two members of a type family named Greco, released by Fundición Tipográfica Richard Gans of Madrid, Spain, in the 1920s. Melina Plain is a refined version of Greco Bold, and Melina Fancy is based on Greco Adornado, with the notable addition of a lowercase, which was not a part of the original design. Melina is based on two typefaces (ca. 1920) from the Fundición Tipográfica Richard Gans in Madrid, Spain. Nick Curtis first found Greco Adornado in a type specimen at the Library of Congress. It was a cap only design. He made a cut of the original (Melina Fancy) and created his own lowercase, and many other characters to support contemporary character sets. Later he came across Greco Bold, which had a lowercase, but he chose not to use it and instead, adapted his Melina Fancy to create Melina Plain.

Download Fieldwork’s PDF Type Specimen Fieldwork brings back the manual tradition of typography production, veering away from lab interpolations. Each of its 24 variants was drawn based on optical evaluation; many of its curves and details were specifically adjusted for each weight, reformulating them to better suit the requirements of the distinct stroke weighs. It is the product of a collaborative effort by the TipoType team, combining their personal strengths and “most importantly” their enriching individual outlooks to achieve a more versatile and fresh outcome. Its shapes successfully combine geometric strokes (in the Geo variants) with the humanistic warmth of the double-storey glyphs (like a and g in the Hum variant) in a system that grows with alternates, swashes and the corresponding italics for every weight. It includes a very thorough coverage for a wide variety of Latin alphabet-based language families. Special thanks to: • José “Pollo” Perdomo: Font production assistent. • Rasmus Jappe Kristiansen: Detroit City project

Scan is literally a barcode font, made of actual barcodes, shaped in De Stijl style. It is a monospace, all-caps font with two different barcodes per letter. These offer the user a choice of a heavier look with the upper case and a lighter look with the lower case. Numbers and letters each have their own distinct barcodes. Also included are an alternate K and R. This font offers numerous ways to create artistic presentations with its unusual design. In certain contexts it has a foreboding look of impending doom, or a cool, cutting edge futuristic look, which lends itself to artwork for album covers, video games, movies, television, novels, and more. It can even have a whimsical look with the use of different colors for its individual bars. Some renderings reveal a ridged or textured look, even a 3D or three dimensional look. Scan gives the user a very high degree of creative potential! Digitized by John Bomparte.

The most versatile geometric font ever is here. With 421 alternative characters and 19 stylistic sets, you get unlimited power to take your creativity to the next level. The first typeface of its kind, Primeform Pro is meticulously designed to adapt its personality to any project. Primeform Pro is the smartest choice for any creative project. With a single click, you can change its typographic personality and adapt it to your desired style. Choose between 3 predefined styles or create your own style by combining the hundreds of alternate characters available. OpenType Features Access All Alternates (aalt) Stylistic Alternates (salt) 19 Stylistic Sets (ss01 – ss19) Localized Forms (locl) Case-Sensitive Forms (case) Standard Ligatures (liga) & Discretionary Ligatures (dlig) Slashed Zero (zero) Proportional Figures (pnum) Tabular Figures (tnum) Subscript (subs) & Superscript (sups) Numerators (numr) & Denominators (dnom) Fractions (frac) Ordinals (ordn) Glyph Composition/Decomposition (ccmp) Language Support 317 Latin Languages 2 Greek Languages 15 Cyrillic Languages Tech Specs Glyph Count: 1185 Format: OpenType CFF

SansduskiMono is a sans-serif decorative/display family that is monospaced. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. The origin of this face is in a previous typeface, BigStripesMono. That family was designed to use the OpenType feature Contextual Alternatives (calt) to put stripes on letters. It had only upper-case letters in one weight. SansduskiMono adds lower-case letters and eight more weights plus italics and outline styles for the black weights. For a proportional rather than monospaced version of this design idea, see Sansduski. SansduskiMono is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

Aqueo™ is a versatile display font family inspired by the cylindrical wireframe of a water glass. The one-sided round corner details added a contemporary feel to this unique typeface. It comes in 6 weights and 12 styles. To ensure the accuracy of the letterforms, we painstakingly drew a master set for each weight. And with over 1,350 glyphs each, Aqueo™ fonts support most Latin-based languages and feature an extensive set of stylistic alternates; The standard uppercase set takes more traditional forms, while the alternate uppercase set sports unorthodox lowercase forms. The standards exude confidence and dependability yet are friendly and approachable, and the alternates elicit more fun, quirky and whimsical. The More Opentype Features, the More Zing for Your Design Projects. Aqueo™ Display Sans Serif comes loaded with Opentype features such as case-sensitive marks, punctuations and mathematic symbols. It also has an extensive set of discretionary ligatures, stylistic alternates, and over 80 essential UX/UI icons, each in three design options. These various Opentype features help improve your user experience, streamline your workflow, and unlock a broader range of typography details you can choose for your design. If you’re looking for a unique contemporary typeface, try Aqueo™ on your packaging design, logo design, infographic, print design, store signages, and UX/UI projects today! To find out more about Aqueo™ Opentype features and type specimens, please visit https://r9typedesign.com/aqueo-font-features-specimen

Neufile Grotesk has its roots in some of the earliest commercially available sans-serif typefaces. This highly legible sans-serif design is well-suited for many display and text-based typographic uses. Users can apply the fonts effortlessly to a large number of messages and media, from advertising to book design. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s eight static OpenType font files instead. Those weights run from Extralight through Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Neufile Grotesk Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the eight static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Whichever format you choose, the Neufile Grotesk fonts include several sophisticated OpenType features. In addition to standard ligatures, there are a few discretionary ligatures and a stylistic set replacing “a”, “g”, and “R” with geometric-sans-style forms. Other features include numeral variants – there are proportional and tabular versions of lining figures and oldstyle figures – as well as fractions and numbers in circles. The fonts have arrows and a feature for setting case-sensitive forms, too.

TT Tunnels useful links: Specimen | Graphic presentation | Customization options TT Tunnels is a modular font family with narrow proportions and a large number of pronounced visual compensators. In the basic version of the typeface, all glyphs have simple chopped shapes, created according to the usual geometric principles. In the alternative version of TT Tunnels, which becomes available when you turn on OpenType feature stylistic alternates or stylistic set 1, the typeface comes to life and turns into a stylized ductal gothic grotesque, in which the design of glyph forms is created based on the pen movements. Despite the fact that TT Tunnels was created as a display typeface for use in short inscriptions and titles, it works very interestingly in the body text, adding a small touch of archaics. This is especially evident in the Bold and Black faces, when the rhythm and thickness of the strokes create a dense set, covering the paper with a solid, dense pattern. The density and style of such a set conceptually refers us to the old Gothic texture and the Old Slavonic script. In addition to a larger number of alternates for lowercase letters, the typeface features an alternate for number 2, an alternate slashed zero, many ligatures, and other useful OpenType features (ordn, frac, sinf, sups, numr, dnom, case, tnum, onum, pnum, liga, salt, ss01, zero). The TT Tunnels includes five faces: Thin, Light, Regular, Bold, Black.

PGF-Americas is a font family, created by Pedro González for Peggo Fonts between 2015 and 2021. Inspired by Rudolf Koch’s Carved Letter design artwork. PGF-Americas delivers a readable, playful, and versatile experience through a font-weight range that goes from thin to ExtraDark plus two Inline weights, an Initials set, one set with ornaments and the other with weather theme dingbats that follow a coherent rhythm and proportions of the family core. An expressive tool that can consistently be applied as decorative complements to solve label, books & movie cover design, headlines, posters and friendly educational products. It adds generous OpenType features with the same spirit as the default versions. Access All Alternates Glyphs Composition/Decomposition Localized Forms Subscript Scientific Inferiors Superscript Numerators Denominators Fractions Ordinals Linig Figures Proportional Figures Tabular Figures Oldstyle Figures Case-Sensitive Forms Discretionary Ligatures Standard Ligatures Full Widths Swash Stylistic Alternates Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4 It supports over 300 Latin based languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German

Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish. After working with many handwriting fonts, and after intently dissecting so many different handwritings, one tends to expect such things to be quirky, disconnected, and almost never upright. In fact, in spite of vertical handwriting’s academically-sung virtues of rationality, efficiency, clarity and logic, very few people manage to deviate from the natural slant when writing. Even fewer manage to make the vertical handwriting connect and keep its natural flow. Calligraphy and upright cursive aside, it is almost impossible to make a vertical letters connect and maintain a real handwriting appearance. This is where the genius of this design comes in to bridge the gap between upright handwriting and calligraphy. Sincerely is based on one of the most fascinating handwriting designs to ever come out of Germany: Karlgeorg Hoefer’s 1968 Elegance for the Ludwig & Mayer foundry. It is a handwriting with the full meaning of the word, yet it possesses the rare, very commanding and appealing trait of being both vertical and connected while managing to remain realistic. It is the ultimate branding iron of handwriting fonts. When set and printed, Sincerely simply cannot be ignored. Ideal for humanity-asserting poster designs, lettering of short wording with plenty of space, poetry, notes, greeting cards, craft literature, book covers, history-related designs, and a whole range of other applications.

Salma Alfasans is a modern sans serif font, created on February 25, 2021. The main inspiration for this font is its modern geometry and bold design, but looks elegant and smooth. This font is well-crafted and has almost no contrast at all. The advantage of the Salma Alfasans font is that it is very appropriate when used as a heading, but also looks good when used as body text. With many weight options, you can freely adjust the design scenario based on your needs. Salma Alfasans is very good for logos, branding, books (headings, sub headings, and body text), invitations, business cards and others. SALMA ALFASANS UPDATE VERSION 2.0 Update Details: - New designs and mayor changes - Tabular and proportional lining figures - Tabular and proportional oldstyle figures - Stylistic set for a, l, y, and G - Numerator, denominator, and fractions - New ligatures for ff, fi, fj, ft, fk, ffk, and more - Case sensitive, and - Arrows Language Support: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, , Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Thank you. Alifinart Studio alifinart@gmail.com Instagram | Behance

Bulltoad is a set of 32 fonts with thematic icon counters. The icons include apple, boat steering wheel, classic bomb, bone, butterfly, maple leaf, car icon, crosshair, crucifix, skull, U.S.A. Democrat icon, female symbol, fish, medical cross, hemp leaf, Jesus fish, jet airliner, old-fashioned key, heart, shamrock, male symbol, crescent moon, peace sign, pistol, question mark, U.S.A. Republican icon, rose, star, smiley face, star of David, sun, and lightning bolt. 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, M?ori, 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 super font family mastered to an unparalleled level of precision, Bolyar TypeCraft is a collection multiple textured styles that represent historical printing techniques. A proud member of our successful Bolyar lineage this unique type family provides unlimited options for your creativity and is quite able to satisfy every typographic taste. If you are addicted to classic vintage style, then you could easily use Bolyar TypeCraft for almost any project of desire - from letterheads, logos and catchy headlines to elegant packaging, book covers and wine labels. Alternates, Swashes and Ligatures will help you customize almost every single letter and fit perfectly to your artwork. Bolyar TypeCraft provides a broad range of advanced typographical features: Multiple subfamilies each packing the two classic Bolyar styles - Regular (N) and Ornate (O). Five weights per style ranging from thin (100) to black (900) with full multilingual support for all Latin based languages as well as Cyrillic. A 1000+ glyphs per weight including three multilingual stylistic sets, swash designs and useful discretionary ligatures. Sub- and superscript basic Latin and Cyrillic glyphs as well as figures. Two positional models for lowercase accessed as OpenType case sensitive forms - baseline (default) or vertical centering. Contextual alternates and special stylistic set with different contour roughness exclusively developed for Bolyar Rough subfamily. A multifunctional Bolyar Shadow family witch can be flawlessly paired with any of the sub-family styles provided. Check out some great examples of Bolyar TypeCraft in use by the Labelmaker

Fushar Arabic is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin A-Z all caps, Arabic, Persian and Urdu with 230 ligatures, European, Arabic and Persian / Urdu localized digits, punctuation, currencies and other symbols - the total of 729 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic alphabet. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include required ligatures, discretionary ligatures, proper mark attachment, contextual alternates, case-sensitive forms, ordinals, localised Persian/Urdu numerals, superscript (1, 2, 3) & fractions. Now you can buy Extended Latin character set (uppercase and lowercase) at Fushar font family page on MyFonts. European languages, Vietnamese and Pinyin included.

Stabia is a multi-purpose typeface with large wedge-angular serifs. It is delicate and highly readable at very small sizes but reveals all its strength and personality when used at big sizes. The contrast of the sharped serifs provides a fresh and very contemporary look. The family has 5 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo and branding, small text as well as web and epub. Stabia provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based, the typeface family also supports Central European languages. Stabiae was an ancient Roman town, located close to the modern town of Castellammare di Stabia approximately 4.5 km southwest of Pompeii. According to the account written by his nephew, Pliny the Elder was at the other side of the bay in Misenum when the Mount Vesuvius eruption started. He travelled by galley ship across the bay, partly to observe the eruption more closely, and partly to rescue people from the coast near the volcano. Pliny died at Stabiae the following day, probably during the arrival of the sixth and largest pyroclastic surge of the eruption caused by the collapse of the eruption plume.

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

German graphic designer Ralf Weissmantel created Boogie in 2003. Boogie is an ironic reference to pop art, and to disco lettering from the 1960s and 70s. Its round forms and outlines evoke the flashing, pulsating lights and music of that era. Shipping with five different, width-compatible fonts, the Boogie typeface has four different components: an outlined letterform is the base element, and forms the first font. Three additional fonts may be layered over top of this base, surrounding the first font with up to three bubble-outlines. In graphics applications like Adobe PhotoShop or Illustrator, these elements can each be assigned different colors. There is also a fifth font, which contains the base outlined letterform pre-surrounded by three additional outlines of the same color. Boogie works best in large headline, display and signage applications, where its forms can be clearly seen and enjoyed. When different colored layers are applied, text set in Boogie will gyrate and jive across the page! Weissmantel has worked as an art director for various international advertising agencies, and has led Corporate Design projects for firms such as Grey and MetaDesign. His design work, honored internationally, has been included in the typography collection of the Museum for Art and Trade in Hamburg. He is currently teaching graphic design at the Düsseldorf University of Applied Sciences. Weissmantel has been an associate of the United Designers Network since August 2002. Boogie received an Honorable Mention in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

Introducing Regave, a typeface inspired by Danish style lettering based off the work of Knud Valdemar Engelhardt (1882–1931) who designed the street signs for the Copenhagen suburb of Gentofte. The Engelhardt's design was loosely based on the lettering of two Danish architects of the time: Thorvald Bindesbøll (designer of the Carlsberg logo) and Anton Rosen. The signs were so successful that they’re still in use today. The most noticeable characteristic of Danish style are: a flat apex of the A the widening of diagonal terminals a double-storey g with its loop terminating before it forms the bottom most stroke (Erik Spiekermann coined this a Danish g) a single-story g with a stumpy tail a K with an almost laterally moved crotch, connected to the stem by an extra horizontal stroke widened diagonal connecting strokes forming flat apex or baseline strokes Regave comes in 11 weights from Thin to ExtraBlack with matching italics and also available in Variable Font format for more flexibility in weight selection. This family also equipped with useful OpenType features such as Ordinals, Superscripts, Subscripts, Stylistic Alternates, Stylistic Sets, Proportional Lining, Standard Ligatures, Fractions, Numerators & Denominators. Each font has 490+ glyphs which covers Western & Eastern Europe, and other Latin based languages – over 200 languages supported! Regave will be suitable for many creative projects. This masculine, strong and unique typeface will be suitable for logos, posters, presentations, headlines, lettering, branding, quotes, titles, magazines, headings, web banners, mobile applications, art quotes, advertising, packaging design, book title, and more!

Burford is a font family that I sketched while traveling through Europe. I was mesmerized by all the unique typography that was showcased throughout the five countries I visited. Inspired by all that I had seen, I found myself spending 4-5 hours per day in Amsterdam’s Vondel Park drawing characters. Once back in the states I digitalized Burford, deciding it would make for a beautiful layer-based font. Burford Pro package comes with all 18 layering fonts including 5 base layers, 3 top layers, 5 bottom layers and 2 sets of graphic elements. They are strategically made to build on top of each other, creating a cohesive and easy to use layer-based family. Each font also comes with a set of Stylistic Alternatives for letters A C E F G H P Q R. Burford Basic package is created for users who don’t have access to premiere design programs (such as Illustrator, InDesign, Photoshop, etc) and are unable to use the layering effect. Burford can still be a powerful tool as each font can also be used on its own. It includes every font file not needed for the layering effect. (Include 13 fonts - Burford Basic, Dots, DropShadow, Extras Set A, Extras Set B, Extrude B, Extrude C, Inline, Line, Marquee, Outline, Stripes A and Stripes B). The Burford Extras set uses all basic keyboard characters - around 100 total elements per set. They are designed to go specifically with Burford and complement its varying styles perfectly. The set includes: banners, borders, corners, arrows, line breaks, catchwords, anchors and many more!

Allow me to introduce Pinky Love Font. A carefully crafted collection of fonts combining informal, romantic, sweet, lovely design elements and hand-drawn typographic design elements. Pinky Love Font has many alternative characters, including multiple language support. You can use this font for your work very easily. Because there are many features in it. Contains a full set of upper and lower case letters, punctuation marks, numbers, and multilingual support.

Named for the Zulu traditional spear, Assegai evokes the long, slim outline of the weapon, and the strength of the Zulu warrior. The font combines the irregular shapes of tribal African art with the simple, clean elegance of contemporary design. It is especially useful for headings, subheading, for shorter passages and also works as a body font since it has both upper and lower case and is striking and readable.

MB NOIR is a 4 weight with italics font family that visually has different layers of style, at first glance its a modern clean geometry based face with some nice retro touches, it also has hints of the vintage about it, with a nod to the art deco style, with alternates and ligatures it gives a lot of scope for its uses and works very well at large and small sizes.

Berlin Sans is based on a brilliant alphabet from the late ’20s, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights, all complete with expert character sets, plus a dingbat font. Imaginative & little-known, it promises enticing opportunities to the adventurous typographer; FB 1994

Obcecada Sans & Serif are two geometric digital typefaces in regular and bold versions, very condensed and thin with a rounded finish on the horns and joints with a modern style. They include the Cyrillic and Greek alphabet. These fonts are the result of my obstinacy for very condensed fonts, in this case I have inclined to a very fine proportion with short ascending and descending that gives them elegance decó.

Cursivo Saxonio is a typeface inspired in the famous book The Case of Charles Dexter Ward, by H P Lovecraft. It shows better than I get with my studies the authentic "Insularis" or "Cursivo Saxonio" handlettering of the VIII and XI centuries used by some people in Britain. The text on the accompanying poster reads: “Corwinus necandus est. Cadaver aq(ua) forti dissolvendum, nec aliq(ui)d retinendum. Tace ut potes”

Etalage Script was drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ display types for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

When Joe Madureira saw the custom font we'd created for Jim Lee, he called us up immediately and uttered the immortal words... "I Want One!" We were, of course, only too happy to oblige. Now, this very font, based upon Joe's own handwriting, is available. Think about it, where else can you get a World Famous Comic Book Artist like Joe Madureira to work for you for under a hundred bucks?