EXPRESO was inspired by the extinct art and craft of urban Lettering applied to buses and other kind of cars for public service of transportation. Since the mid of last century, main cities of Colombia - as Bogotá, Medellín and others - were growing in population and brought urban area expansion with it and serious traffic problems due to the lack of political will and urban planning. The problem of urban transport in Colombia's largest cities has not yet been resolved, despite adopting some examples of mass transit system in other cities in the region. Before these actions, public transport in cities such as Bogotá was quite varied, leaving space for popular culture that survived for a couple of decades, until the massive dieback of these old buses early this decade, either by practices associated with Lettering it was displaced by some technological, some expressions of art street and city that evolved or disappeared. EXPRESO can be used mainly in titles and display texts. You have a multitude of options using combination of layers from the basics of the font family to the various textures and shades. Supports East Europe languages.

Looking to add a little Arts & Crafts flavor to your next project? Perhaps you just need a distinctive, new sans serif design? And one with a large international character set. In either case, ITC New Rennie Mackintosh™ may be the typeface for you. Its narrow proportions saves space, and the design shines at large sizes. While it can be an excellent typeface for Art Nouveau flavored labels, name tags and chapter call-outs, this is a suite of fonts that you can also turn to for a bevy of print and on screen uses. Games and apps, as well as print headlines and menus all benefit from ITC New Rennie Mackintosh’s vintage vibe. Based on Phill Grimshaw’s original 1996 design, Monotype Studio designers reimagined the iconic family, added lowercase characters, a new weight structure of light, regular and a more robust bold design; each with an italic counterpart. In addition, a large international character set that include support for many Western and Eastern European languages – including Cyrillic and Greek – give the family a deep typographic bench. An added benefit: the new designs can also be combined with Grimshaw’s original ornament and initial character fonts.

Soprani is a unique typeface inspired by a plaque found in New Zealand dating from the 1920s. The design was contemporized and brought 100 years into the future. The serifs are dramatically flared at the end of the stems, while in the middle, they contract. This leads to a unique shimmering effect that draws the eye and catches your user's attention. This typeface meets the demand for unique serif types that are both eye-catching and delicate. It’s a display face that's ideal for very contemporary work. This typeface has plenty of alternates and has a full complement of OpenType features. The 1920s inspire the design, with a bit of art nouveau and arts and crafts, yet the typeface is designed to meet contemporary design requirements. It has a unique elegance and the letterforms are condensed more than most. Soprani is suggested for table books, menus, and various promotional materials, newspapers, television, motion pictures and other media. There is a wide range of widths and weights available, from the thin, which is delicate and graceful, to a bold and robust black. Production assistance by Lucas Azevedo and ikern.

The Colville fonts began their existence in 2015 as a project-specific typeface, made to be used on a custom-made headstone commemorating Canadian artist Alex Colville (1920-2013) and his wife Rhoda Wright. For that purpose, some initial shapes were modelled after letters Colville himself had used on a Governor General gold medal he designed in the mid-1970s. From there started a year-long project that culminated in a set of four comprehensive fonts ranging in weight from Light to Bold, each containing over 750 glyphs to cover Pan European language support, stylistic alternates, five sets of figures, automatic fractions, and some ornaments rooted in Alex Colville’s art. These fonts exhibit a strong art deco aesthetic that has always been a favourite of architects, metal casters, and sign makers. This is a very humanist geometry alternating from the precisely calculated to the curvy and lithe, subtle contrast, flat stroke stops, and airy proportions that make for a counterspace built for accommodation and comfort. The breadth and timeless humanism of the Colville set makes fit in a variety of applications, from straightforward headlines, titles, and emphasis captions, to branding and packaging.

In January of 2006, Jeff Levine fonts debuted with ten releases. Many of those first fonts were based on vintage lettering stencils, which were the "school years" catalyst for Jeff's interest in lettering and type design. Eight years later, his collection of fonts has become a giant catalog of display type ranging from Wood Type revivals to Art Nouveau, Art Deco to stencil, reinterpretations of old favorites, experimental fonts, dingbat fonts and typefaces reflecting a particular decade's styles of cultural popularity. Designs from old lettering books, type catalogs and advertising have also been fodder for many alphabets not previously available in a digital format. Along the way, many unusual lettering sources were also mined for type ideas. Vintage packaging, hand-lettered signage, sign making kits, rubber stamp type, water applied decals and at times just a singular letter example inspired many of the releases within this collection. It was a source of pride for Jeff Levine Fonts to reach 500 releases and a determined goal to grow the type library as far as possible. With this in mind, February 2014 brings forth many new releases. This one in particular, Ornery Polecat JNL, is the 800th typeface release from Jeff.

Marujo is a highly decorative typeface inspired by painted pieces of Arthur Bispo do Rosário, a striking Brazilian artist who lived for 50 years in a psychiatric institution. Besides its spirited Regular and Light cuts, Marujo family brings nifty eye-catching variations adorned with dots and stripes. It also brings complementary fonts to spice things up even more: there are 2 shadow options and yet a picture font packed with doodles, mostly on nautical subjects (which are strongly present on Bispo do Rosário, a former seaman apprentice.) Bispo do Rosário's works employs a multitude of materials and are often very intricate. Words are everywhere, painted or embroidered at most. He produced a vast amount of works, and is now - posthumously - widely recognized in Brazilian art scene. The psychiatric institution in which he lived is now a museum dedicated exclusively to his work. Marujo draws inspiration not only from Bispo's works, but also from this man's potency, a persistent man who produced amazing art locked in such a tough environment for a life-long. Marujo fonts are positively adventurous and will safely navigate through a sea of feelings, reaching free spirits everywhere. To navigate is precise...

Devinyl is a monolinear typeface family which mixes different styles. The typeface is entirely composed in capital. The uppercase is inspired by old grotesk from late 19th and the lowercase is a humanist-sans. This is a monoline typeface and the variety of style make it perfect for magazine and poster design. Download the PDF here. Devinyl comprises a family of 8 styles, from the art-deco inspired ‘line’ to the ‘stencil’, often used in street art. All the fonts share the same base. Devinyl family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Introducing Moderately, a chunky and friendly typeface that makes a bold statement. This high-impact font is specifically crafted for designers seeking a display typeface with presence, perfect for applications where large, expressive type is a must. The defining features of Moderately include a generous x-height, soft curves, and tight spacing, ensuring a punchy and fresh aesthetic. Moderately is a deliberate departure from your contemporary sans with nary a straight line to see, embracing the organic and dynamic qualities reminiscent of blocky Art Nouveau typefaces, notably inspired by the works of Alfred Roller. While drawing influence from psychedelic / Art Nouveau revival typefaces of the 1960s, Moderately strikes a contemporary balance, delivering a design that is both impactful and approachable. Each glyph in Moderately attempts to maximize its space within the em square, incorporating slim carve outs for counters and apertures. The name "Moderately" adds a touch of irony, as this typeface is anything but plain – it exudes affable confidence and subtle flair. Created with versatility in mind, Moderately offers broad support for Latin-based languages, ensuring its adaptability for a wide range of creative projects.

The font "Gaidar" named in the honour of Arkady Gaidar. He was a Soviet writer, whose stories were very popular among Soviet children, and a Red Army commander. He died in combat fighting with German nazis in 1941. Few generations of Soviet kids are raised on his books and a number of films were made based on his stories. This font inspired by posters, movie titles and book covers of this writer. The letterforms are bold and gnarly and comes in 2 styles: uppercase and small caps. It has LATIN and Extended Eastern Europe CYRILLIC letters. "ST-Gaidar" created for titles, poster design, web design, branding and packaging works, illustrations, badges and other typography works. Pls, don't use it for for typing large arrays of text. ST Gaidar supports 15+ languages: Belarusian, Bosnian, Bulgarian, Croatian, Dutch, English, German, Macedonian, Norwegian, Russian, Serbian, Swedish, Spanish, Slovenian, Ukrainian and probably others

Once, Blackletter was a calligraphy style. Full of ligatures, with letters bumping into each other to create an unapologetic picket-fence pattern. Some even claimed that the regularity improved legibility! But then Blackletter was cast into metal, and only a handful of established ligatures survived, while most interletter connections were disentangled. Everyone since followed suit, and hundreds of years later, digital Blackletter fonts were modelled mostly on the metal fonts that prevailed rather than the original handwriting. Up until now! AJ Quadrata is an authentic revival of the textura quadrata hand, and its major inspiration is a 15th-century Latin manuscript of the Bible from Zwolle, the Netherlands. The typeface is delivered in two flavors. The default cut is a modern take on textura quadrata that can be useful for today and tomorrow. The standard ligatures feature employs nearly all letters. The tittle of i retains its original, hasty squiggle form (except for the Turkish localization). Discretionary ligatures include medieval ligatures da, de, do, pa, pe, po (and their mixed-case counterparts!). Stylistic sets allow to use historic letter variants such as long s and rotunda r, closed-counter a, and alternate capitals. AJ Quadrata Medieval is perfect for setting Latin. Default forms of capital F, H and O are swapped with the alternates. The squiggles above i only appear for disamibiguation nearby m, n or u, as in original manuscripts. Discretionary ligatures and historic variants are promoted to the standard ligatures feature to make room in the discretionary ligatures feature for a variety of scribal abbreviations. Dedicated stylistic sets include medieval punctuation and justification alternates — glyphs with elongated terminals used for lengthening lines that end up too short. The Rubrum styles can be layered and colored to create the illuminated effect on the capital letters. Besides a faithful rendition of extended Latin including Vietnamese, numerous synthetic additions are included: polytonic Greek, Armenian, and Cyrillic (with Bulgarian and Serbian/Macedonian localizations). Both flavors of the typeface can be considered a starting point that can be further customized using OpenType features, including Stylistic Sets (some features differ between AJ Quadrata and AJ Quadrata Medieval): ss01 Alt E ss02 Descending F / Roman F ss03 Uncial H / Roman H ss04 Angular O / Round O ss05 Contextual closed-counter a ss06 Diamond-dot i j / Always dotted i, j ss07 Contextual rotunda r / No r rotunda ss08 Contextual long s / No long s ss09 Dotless y ss10 Serbian Cyrillic ss11 Alt Cyrillic de ss12 Alt Cyrillic zhe ss13 Alt Cyrillic sha ss14-ss17 [reserved for future use] ss18 Scribal punctuation ss19 Alt linking hyphen ss20 Justification alternates

Leitura is part of Leitura Type System and was specially designed for editorial purposes. Includes small caps, ligatures, alternates and swashes.

Hey, cats and kittens! Dig this groovy font we got for ya—Burpology! It’s the perfect typeface for all your cartoon headline needs. With its heavy weight, small counters, and tight spacing, you’ll be making a visual footprint that’ll knock ’em out! And that’s not all, daddy-o! Burpology comes equipped with automatic shuffling of three letter and numeric variations in OpenType-savvy apps, giving your words that cool, hand-drawn vibe. It’s like having your very own in-house cartoonist! So, if you want to add some serious pow and pizzazz to your headlines, just hit up your application’s contextual alternates or standard ligatures option and watch the magic happen. Don’t be a square, man—get Burpology and let your words do the talkin’! 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, Maori, 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.

This typeface comes from a self initiated project called Sápmi, which aims to contribute to keep a group of minority languages alive through solving issues in the education environment. This re-thought edition takes the name of Aanaar and joins our library with a bigger character set and two new weights which complete the typeface providing a big typographic palette as well as adding stylistic two-story a and g for more advanced readers as well as to enable the typeface to be used in other environments. The typeface was originally designed for children’s text books. Analysing kid’s typeface design, we identified some important problems and solved them within the boundaries we had. The main concern in a typeface which will be used by children is letter recognition, as they have not yet fully develop their reading skills. For example, letters like “a” and “g” share a very similar structure in this particular kind of typefaces, where the only distinctive part is the descender of the “g”. It is known that the lower part of the letter is the less important feature when reading, therefore we decided to make a clear distinction between them by having an “a” with a spur on the top right. This also helped distinguishing “a” and “o”. Children typefaces usually have one story “a”, making “a” usually too close to “o”. Additionally we moved the joint in “a” upwards and narrowed very slightly the “a” to make sure they cannot be mistaken. More generally, the x-height is fairly tall and the typeface has a bit of movement which give it a good rhythm helping moving along nicely when reading. Aanaar consists of 5 weights (Light, Regular, Medium, Bold and Black) plus two Italics (Light Italic and Italic).

‘Technical Signature’ 2015-2021. A Pixel labyrinthine Display Type System! Plus, Digital “Layer Game”, Futuristic & Sci-Fi Optical Texting for interfaces evolution Landmarks! Now with 3D Styles! 18 Styles total! Revised, Verified & Updated New Edition ! It was inspired also by antique juxtaposed zig-zag Greek mosaics ornaments “ancient times computer” which defined it into a Small Caps Font, while another pair font with same metrics was made to reminisce the manuscript look as a “sister” and Cursive symbiont. Searching for a technical language and perpetration, resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better correspondent renamed fonts & style linking, addition of responsive OT features encoding and 3D Styles. Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is ideal to Technician Designs, things like Footer Signage, Engineering & Crafts Logos, Op-Art Posters, Stamps, Labels, Printed & Digital Certificates, Plus Movies interfaces, Internet Headings and Text and of course Video Games!

Octagon is a basic sans serif font. This font showing a simplicity in design and readable. One of the feature is the optical kerning precisision, that supporting ellegantly in the writting result Hope this font will be fit on your next design project. If you have any question please feel free to contact.

When reading text, the most informative parts of the written word for a human brain to identify, are the top and bottom edges of each word, and to a lesser degree, the leading and trailing edges. The overall shape has more useful info than the inner workings of each word. DT Enigmystic, is a display font family that gives you just that. The outer edge. At first glance, these letters don't look like standard letters, and yet, they are perfectly readable. And it is a 'somewhat' smart text, in that it will automatically complete the trailing edge of every word, whenever it sees a comma, period or space. Similarly, it will automatically complete the leading edge of every word following a space. When used as display test or as a heading, the first letter will need to be preceeded by a space, to achieve a full enclosed word outline. As with most of my fonts, do use Contextual Ligatures. This allows the letters to come alive. When generated here on this webpage, contextual ligatures are not turned on, and so the words do not appear completely closed at their beginnings and ends. But as can be seen in the poster images, these outlined words do automatically complete themselves when contextual ligatures are active.

New from the Monotype Studio, Cotford is a contemporary serif from Creative Type Director, Tom Foley. Dynamic, adaptable, and surprising—Cotford is a languid serif that ranges from delicate thins, bending and reaching like flower stems, to bold heavy weights that command the page and screen with confidence and vintage charm. And as a variable font, Cotford allows designers to explore and refine the design almost endlessly, unearthing its many visual tones and hidden secrets. Foley set out to design a soulful, contemporary serif typeface that delivers all the versatility and robustness today's designers expect. The variable font unlocks an expandsive spectrum of visual expression that allows designers to explore, tweak, and adjust the typeface until they find the perfect weight, contrast, and optical size for their project. At the same time, Cotford’s static weights follow a traditional model of 3 text and 5 display weights, making it a strong choice for brands looking for simple implementation. A pop serif for the digital age, Cotford takes you places. Cotford font field guide including best practices, font pairings and alternatives.

This chunky rounded bold font is not only fun and playful but also incredibly versatile. Whether you're working on food product branding, creating a display headline, or designing packaging for your latest project, Omletta font will surely bring a smile to your face. With its bold and rounded design, Omletta font is perfect for creating eye-catching designs that demand attention. It's perfect for brands that want to make a bold statement and stand out from the crowd. Plus, with its support for Latin multilingual, you can use Omletta font for all of your international design projects. So what are you waiting for? Add some fun and excitement to your next project with Omletta font. With its playful and youthful tone, this font is perfect for creating unique and memorable designs. Whether you're designing for a food brand or a fun event, Omletta font is the perfect choice to help you capture the essence of your project. Get ready to make your designs pop with this bold and playful font!

Introducing “Towienk Font” – Your Passport to Summer Creativity. Embrace the sun-soaked vibes of summer with Towienk Font, your perfect companion for creating designs that radiate the essence of the season. This delightful display font captures the spirit of summer in every character, making it an ideal choice for all your warm-weather projects. Towienk Font’s playful and breezy style adds an instant touch of summer to your designs. Whether you’re working on beachside invitations, tropical-themed posters, or anything in between, this font will infuse your work with the carefree spirit of the season. With meticulous attention to detail, Towienk Font ensures that your text pops with the vibrancy of summer. It’s a versatile typeface that adapts effortlessly to various design applications, from travel brochures to poolside party banners. Dive into the world of Towienk Font and let your designs sizzle with the warmth and energy of summer. Elevate your creativity and make every project a sun-drenched masterpiece. – PUA Encoded Characters – Fully accessible without additional design software.

“THE DEMON FONT” has been specifically created for a very contemporary graphical usage. It represents Gore, Violence, and Lust with Sinful appearance; with diabolical appearance and reflects the dark side in its every character, which may not be Ideal for daily use. But some expressions never look good in the boldest, brightest of Type, for it is their Vocabularic nature and deep interpretations. In such cases The Demon Font shall fill the role gracefully. INSPIRATION When I recently started my web graphic novel focusing around Demonic Possessions, Crime and Paranormal occurrences, I felt the need to have a type that spoke very unconventionally and supported the language of my story. I wanted to break apart from the usual Comic Sans like typefaces used for decades in Pop cultural mainstream Comics, and wanted something very sublime and independent in style concurrent to the the parallel digital media of Web Comic genre. Thus I created my own type to help translate the communication of my plot thicker to the plain old “Lettering” Font.

This design incorporates different styles into a consistent look. A pinch of script, a little of geometric and some humanistic shapes as well create a very distinguishable sans-serif. It has an overall good feeling specially on the heavier weights that have intended contrast irregularities to create a 'cartoonish' look. On the intermediate weights the design will preform well on small font sizes because of its large counters, low contrast and large x-height, but as you go to the extremes you will see shapes full of personality that will pop out in large font sizes. The font is loaded with opentype features such as small caps, ligatures, alternates, old style figures, and much more. The italic version is deeply rooted in the calligraphic heritage of the Italics. This way the brush inspired strokes are emphasized as well as an overall calligraphic look. Far from being a mere slant, Mangerica Italic had every lowercase glyph redesigned as well as some uppercase, besides that, every glyph was optically adjusted to ensure not only aesthetics but functionality too.

Leitura Sans is part of Leitura Type System and was specially designed for editorial purposes. Includes small caps, ligatures, alternates and swashes.

Leitura Display is part of Leitura Type System and was specially designed for editorial purposes. Includes small caps, ligatures, alternates and swashes.

Leitura Headline is part of Leitura Type System and was specially designed for editorial purposes. Includes small caps, ligatures, alternates and swashes.

Leitura News is part of Leitura Type System and was specially designed for editorial purposes. Includes small caps, ligatures, alternates and swashes.

Teterboro JNL is a bold, slab serif font built (in part) on the letter shapes from Jeff Levine's stencil font Interboro JNL.

Tummy is part of the Game font set I made few years back; this one is for game packaging and logo design.

Palatino Sans was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. The fonts in the Palatino Sans family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans can be mixed well with Palatino and Palatino Sans Informal. Palatino® Sans font field guide including best practices, font pairings and alternatives.

The quality or feeling of being grateful or thankful. An appreciation for the world around us. Gratitude for being a part of it all. No matter what’s happening in our lives, there’s always something to be grateful for. When we have an appreciation for all we have, life gives us more to feel grateful for. It’s a naturally occurring cycle. Some of the most profoundly grateful times in our lives can be felt when we find ourselves surrounded by beauty: in art, nature, music, special places, the seasons, family, loving relationships, a cozy home, meaningful work; in doing what brings us joy, comfort, and feelings of deep love and satisfaction. There is beauty everywhere, and creating beauty is an artist’s mission. We all have the ability to create and experience beauty. In this high-tech, fast paced world of strict, unbending rules, we give you Gratitude Script: A celebratory font that’s deeply rooted in tradition letterforms but with a modern, updated twist; a casual, whimsical, fun look that is also elegant and versatile! Partnering with Ale Paul is seasoned wedding calligrapher Kathy Milici, who is well known for her passionate writing style and highly ornamental pen flourishing. With its signature hand-written look, flowing lines, graceful curves and flourishes, Gratitude Script’s space saving, vertical style is perfect for small printing areas as well as large format presentations. An extended variety of alternates makes it a perfect and versatile addition to your font repertoire.. These are tender times. Long hours and work pressures add to our stress. Time spent with family and friends is more valuable than ever before, as we try to balance it all. It’s important to mark time with special, happy events in our lives that we can all appreciate and enjoy. Let’s be grateful for it all! Hooray for Gratitude, and Gratitude Script! About the font: Gratitude Script is an OpenType font that contains more than 1400 glyphs icluding ligatures, alternates, endings , a wide range of latin languages and a set of ornaments and words specially designed to use in stationery for weddings, birthdays, etc. There is a smooth version of Gratitude Script too. To access to all the extra characters you will need to use software that actually supports OpenType like Adobe CS apps or later where we recommend the use of the Glyph palette. About the presentation: Every time we publish a new typeface we love to invite an artist to collaborate. Vero Scherini, an argentinian and very talented designer and illustrator, fits perfectly with Gratitude.

The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

STROKIN is an inky, messy, Omnicase display font. It’s part charcoal part paint strokes, reversed in lighter tones it looks like chalk, add a splash a red and it starts to look like blood. It has over 250 glyphs including all those extra pesky foreign features. OpenType coded, It has various letter pairings that interlock automatically to create a more randomized, bespoke feel to your copy. Hope you like it.