We’ve created Jinkay, a display typeface with a Japanese style that’s similar to original. Don’t be afraid to use this font in all of your special projects right now; imagine how beautiful and appealing your design will be; your project will instantly captivate all of your audience at first glance; they will easily remember the appearance of your project if you use this font, because it will be unique, different, and stand out from the crowd. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

ITC Caribbean is the work of California designer Jill Bell, earthy yet exotic. In her typeface experiment, Bell combined unusual angles and curves to produce tall, thin letters whose stroke style completes the suggestion of palm trees which this typeface brings to mind. The typeface contains capitals and small caps. The natural look of ITC Caribbean lends any work a human touch.

This work is inspired by creatures that I have drawn for my six year old boy. The monsters can be found at chrismetcalfe.com. I wanted to take their hair/fur and translate the fun attitude to type. To be honest I think this font is used best as display type. However the fun attitude lends to many usages without structure.

It's been a while... more than three months we developed our brand new font. We call them "Meastro". Fun fact though, we want to call it "Maestro", but you know... we were afraid of the copyright thing. Meastro Script is a fun, bold, luscious, retro display script font. We crafted this font very carefully and make them very smoothly attach to each other. Especially, on the script version. You can see every character's tail beautifully connected one to another without using ligatures' help. This font takes full advantage of the Open Type format with several automatic ligatures that occur as you type for your preferred design. Moreover, the manual stylistic alternates allow you to choose the letters you prefer. Alternates occur automatically as you type in supported programs when you have "Ligatures" or "Stylistic Alternates" turned on. Meastro is Created with a ton of stylistic alternates, swashes, and ligatures, and also comes with layerable fonts to recreate the effect without uncomfortable overlaps of the extruded shadow effect. On this pro pack, you will also get the Meastro Display font! On this font you will meet the unique blocky and squared design, making your design feel classic and retro-like. Combine them and “boom”, you will be the “Maestro” of the vintage design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Meastro features: A full set of uppercase and lowercase characters Layered Style Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +553 Total Glyphs (Script) +235 Total Glyphs (Display) +238 Stylistic Alternates +30 Ligatures +69 Swashes and more (Shiny and Graffiti Spray Effect Included!) ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Salvador was born in a small village in the province of Seville, Spain where he lived until 2002. During many years he worked in restaurants, construction, and in the fields, until he decided to go try his luck in Palma de Mallorca. There he worked in hotels and in construction, until the economic crisis erupted and he was left without work or benefits of any kind and he began to live in the street: “The street has few good things, but it teaches you to be more selfless, to share with others what you have, even if it isn’t much.” In 2006, a friend encouraged him to come along to Barcelona and bought his plane ticket. Once there, things did not go much better and he had to continue living in the street. A year ago he left behind that life and now he explains his experience in guided tours to school groups: “I like it because I see that many of them are interested and they ask questions. It is good that they learn.”

California Bound JNL is based on the hand lettering found on the side of the old California Zephyr passenger trains; the route now being a part of Amtrak. This somewhat unusual Art Deco design is more utilitarian than decorative, yet it still captures the "Streamline Era" perfectly.

Mooneyes is an elegant and thin, lettered serif font. Trendy and stylish, this font will elevate each of your creations. Coquet is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Qegor is a thin and classic serif font. Use it for any design projects that require a charming appearance! This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

This neat, handwritten font is intended for educators who create teaching resources for children. It is highly legible for new readers and is thin enough to be used for the body of text on student-read documents.

HF Parunk is a cool, humane handwritten font with different letter heights and lows and has a rough appearance because this font was created with a pen on paper, so the roughness in each character is very natural. This Parunk font is only in All caps form but the characters are different when in Uppercase mode and Lowercase mode. The Parunk font is also provided in an alternative version. If you create a writing design with the same letter you can use this feature to add to the naturalness of this font. This font looks very scary so it is very suitable for masculine things, horror films, Halloween posters, horror podcasts, horror content on YouTube and more. ** Uppercase

This is a new barely modulated, slightly narrow, sans serif font family. It has eight styles: thin, thin italic, regular, italic, bold, bold italic, black, & black italic grouped into two 4-font families: Amico Thin with the Bold; and Amico with the Black. Amico has the standard feature set developed at the end of 2007. It has many OpenType features and 654 character/glyphs: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters, ordinal numbers (1st-infinity): lining and oldstyle), and so on. It is designed for text use in body copy. However, Amico really shines as the choice for heads & subheads when using Amitale or Brinar for the text family.

Evil Intentions is that lighthearted spooky font your looking for this Halloween! Inspired by an old Hanna Barbera comic Mr and Mrs. J. Evil Scientist, comes this visually shaken but friendly san serif font to stir you up. The Contextual Alternates feature in this font automatically alternates between the Capitals and alternate Capitals of the font to mix things up a bit and keep your type-settings lively, and the Stylistic Alternates feature throws a handful of playful ligatures in to even further make the letters playfully dance.

SK Barbicane is a family of typefaces named after Jules Verne's famous book, From the Earth to the Moon. Inspired by Jules Verne's foresight, it was designed with a synthesis of the future and the past. While it carries sharper and futuristic lines than the future, it also incorporates the organic structure of the past. All characters have equal dimensions in this font with mono weight and mono space. In this way, you can create regular typographic layouts in your designs. Consisting of two different families, Normal and Unicase, this font has a total of 12 different fonts and 5088 glyphs. In this way, it contains many typographic elements that you will need in your designs.

Italiko is a calligraphic font. The letters have been hand-drawn individually to extract the common strokes. The strokes have then been re-composed to give the font a more unified appearance. It comes in Black, Bold, Regular, and Thin. The Thin version is different as the extreme contrast in the font makes the thinner lines disappear. It is likely best used as a display font. There are ligatures for the combination of letters that can be written more quickly by using a single stroke and letters that are slightly different from the ‘Italic canon.’ You can select which one to use in your application (i.e., Word) using combinations of italic/bold: No selection -> Regular Bold -> Bold Italic -> Thin Bold Italic -> Black If you end up using the font, get in touch at https://github.com/lucabol/Italiko. Feel free to suggest improvements or let me know if you encounter problems.

A neo-grotesk with a bit more bite, this is Schizotype Grotesk. It's not your usual grot; this is purely display typography. Notches cut deep into the letterforms and the thick/thin contrast isn't always where you might expect. It's intended to be a challenging typeface - not beautiful or particularly 'useful' in any conventional sense, but it is at the very least interesting. In a world where everyone and their dog has their own grotesk offering, perhaps being interesting and that little bit different is in itself enough to give the face its utility. Besides, beauty is in the eye of the beholder. What really matters is what you think! Schizotype Grotesk isn't bogged down with a million and one OpenType features you'll never use, but it does include proportional and tabular lining figures; automatic fractions; numerators and denominators; superscript and subscript numerals; case sensitive forms; and five stylistic sets that change [a], [g], [y], [IJ], and [@] respectively.

Joy Redick designed Blackoak, a big and heavy Egyptienne-sytle titling slab serif face, in 1990. The extremely robust style of the characters in this typeface was consciously distorted; creating letterforms that appear flattened and stretched, like a rubber band. Blackoak is drawn in the style of old wood tpes, just like those that one envisions when one thinks of the large, decorative posters that once filled Wild West America. The wood type collection of the Smithsonian Institute in Washington, DC acted as a primary source of inspiration for this design. True to its rooks, Blackoak is meant for use exclusively in headlines in very large point sizes, or for logos and other corporate advertising purposes.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

The font, Arnold Boecklin, appeared in 1904 with the font foundry Otto Weisert. Traces of the floral forms of the Jugendstil can still be seen in this typeface. Alphabets of this type were mainly meant for larger point sizes, as on posters. A decorative feel was much more important than legibility, and Arnold Boecklin was of particular importance to the book design of the Jugendstil movement. Today the font is often used to remind people of “the good old days”.

Kornelis de Vries, a headmaster from the Dutch province of Friesland, cultivated new potato breeds that he named after pupils in his school. In the early 1900s he came up with the tasty Bintje (a Frisian girl’s name) and it became a big success – in Belgium and France it has remained the most popular potato for french fries to this day, more than a century since its introduction. Donald Roos took 10 kilos of fresh Bintje potatoes and cut the Bint typeface by hand with a short, sharp knife. He then inked each character once and printed it twice; the second, lighter printing is accommodated in the lower case alphabet. The Bint family offers a script to make the letters bounce up and down the baseline; with OpenType functionality the font randomly chooses each character from the upper- or lowercase alphabet. ‘Tabular lining figures’ will activate a series of negative numerals in boxes; ‘Discretionary ligatures’ activates specially designed letter combinations like ‘www’ as well as arrows and stars. Bint has a distinct, slightly rough handmade appearance, making it useful for a wide range of designs.

Shizzle is a font with a graffiti marker style. The lettterform of ‘Shizzle’ essentially made by the combination of downward and upward stroke base on -15 degres angle guideline. The basic of downward stroke is pulling pen from the top left to thw bottom right with full width of marker, then the basic shape of upward stroke look like the ligh flick by using the tip of the pen from bottom right to the top left. Inspired by Hip Hop and Rap style style. ‘Shizzle’ is a slang way of saying "Sure". People generally use it to communicate agreement to another person. This term is a product of Snoop Dogg's penchant for replacing the end of words with "izzle" to sound cooler. And ‘Fo Shizzle’ (for sure) this font offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts and advertisements, especially with graffiti look.

Riposte is a powerful and carefully-integrated handwriting font. You should use it where you want to create a strong impact but want to avoid heavy, boxy, formal fonts. The characters were designed for excellent letter-spacing without kerning, but you can switch kerning on to add some subtle enhancements to the letter-spacing. Riposte is readable, even at quite small sizes. It was designed to be used as a mix of upper and lower-case letters. Do not make text using only uppercase letters since the spacing of the uppercase letters was optimized for use together with lowercase letters. So remember, when you want your text to have the powerful impact of the master swordsman with his balanced stance and vigorous movement -- try Riposte. The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages. Riposte works well in professional layout application packages as well as in word-processing packages such as Microsoft Word® that do not support professional kerning.

The standard paperclip is the basic idea behind this Alpha Delta. By working on it, I changed it so that it doesn't look too much like a paperclip any more. Things happen, Gert Wiescher

Shayan is an interesting display font inspired by the style and feel of the Middle East Arabic. This font is suitable for branding logos, Ramadan themes, and any other projects you can think of.

King Malik is an interesting display font inspired by the style and feel of the Turkish font. This font is suitable for branding logos, Turkish themes, and any other projects you can think of.

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 ---------------------------------------------------------------------------------------------------------------------------

Boy, they're everywhere. One of your neighbors is probably one of them, Freaking super-heroes (TM, ©, ®, SM blah blah blah) are more ubiquitous in cities these days than Simon Cowell is on talent shows. Notice how that guy on the subway -- the one with the boy scout haircut? -- see how he keeps his shirt buttoned all the way up? He's not sweating either... that's 'cause he's probably from some dead planet that exploded twenty years ago. His REAL parents wrapped him in blankets and, when he turned 18, his Ma on Earth turned those same blankets into Long Underwear for her foster son. He's probably wearing his long underwear right now. That's why he's smiling at you through his horn rimmed glasses. He thinks you don't know. Thinks he's special. Thinks he's a super-hero (TM, ©, ®, SM blah blah blah). Ain't that Super?

In 2011, while tutoring an exercise on Slab Serifs, Josema discovered Robert Thorne’s work for Thorowgood. Specifically, he was fascinated by the extraordinary density of the 6-line Egyptian Pica from 1820-21. As a simple exercise, he wanted to test the limits of readability within the context of a contemporary alphabet. Rothwood Ultra is the result of this experiment. As a way of developing the series, he found it interesting to go to the opposite end of the spectrum and discover how to evolve the extra-black Ultra’s DNA into a super lightweight model. The Hairline and Thin styles are her slim sisters. The third challenge has been the creation of the text version. Light, Book, DemiBold and Bold, including italics and Small Caps close the Rothwood cycle for editorial use.

Hawkes is an extensive handmade typeface family that comes with a bundle of weights, widths and styles, all designed to work cohesively. Here is a breakdown of the Hawkes family. Hawkes Sans: The primary subfamily is a sans-serif typeface that includes nine fonts: three weights (light, medium and bold) and three widths (narrow, regular and wide). Within this set are an array of stylistic features; including small capitals, character style alternatives, discretionary ligatures and contextual alternatives. See details below for more information on OpenType Features. Hawkes Variable Width Sans: The secondary subfamily is the same base sans-serif fonts but combined in variating widths. Essentially, it takes all three widths of each weight and randomly mixes them together. This creates a funky and creative alternative to the more traditional sans-serif set. The variations are for the uppercase, lowercase, small capitals, ligatures and numbers. Hawkes Script: The last subfamily is the script typeface. It’s a quirky script with variations of its own, including ligatures, swashes and contextual alternatives (again, see below for further details.) The script font works great as a complimentary style to the sans-serif, or on it’s own. FEATURES Alright, let’s get into all the extra goodies this typeface has to offer. Small Capitals: Small caps are short capital letters designed to blend with lowercase text. These aren’t just capital letters just scaled down but designed to fit with the weight of both the lowercase and capitals. With Hawkes, small caps can either sit on the baseline (in line with the base of the capital and lowercase) or to be lifted to match the height of the capital letters by applying the discretionary ligature setting in the OpenType panel. These small capitals have a dot underlining them that sit along the baseline. The feature offers a unique display affect that is great for logos, titles and other headline needs. Discretionary Ligatures: A discretionary ligature is more decorative and unique combination than a standard ligature and can be applied at the users discretion (as the name indicates.) The specific styling for these ligatures varies for different fonts. With Hawkes, they are used as an all capital styling feature, or to lift the small capitals to align with the height of the capitals. In the former setting, both lowercase and uppercase letters are first changed to all capitals, then a specialized set of letter combinations are transitioned so small characters are positioned within a main capital letter. These combinations only happen with main characters that include an applicable stem, such as C F K L R T Y. Some of these combinations include two or three characters. When Small Caps is turned ‘on’, this feature will lift the small caps to the height of the capital letter. For more information, please check out the user guide! Stylistic Alternatives: Stylistic alternates are a secondary form of a character, often used to enhance the look or style of a font. For Hawkes, these alternatives provide a slightly more handmade feel. A - the capital and small capital A will lose its pointed apex and become rounded. Think of it more as an upside-down U than an up-side-down V ;-) Oo, G, Ss, Cc- these characters’ topmost terminal becomes a loop. The O is applied automatically, the G S and C need to be turn on individually. Titling Alternatives: This feature does sort of the opposite of what it intends. Instead of being used for titling purposes, this feature makes the text look better in paragraph text settings. Kk Rr h n m - curved terminals on the are straightened e - the counter stroke also gets straightened from a more looping motion y - the shape of y is changed from a rounded character to a sharper apex (think more like a ‘v’ than ‘u’) Contextual Alternatives: Contextual alternates are glyphs designed to work within context of other adjacent glyphs. With Hawkes Sans, there are three slightly different variations per character. The feature rotates the application of each variation. This helps with organic authenticity, so if you have two e’s next to each other, they won’t look identical (reflecting the natural variations in handwriting and lettering.) With Hawkes Variable width fonts, I have created a contextual pattern that randomizes the widths of each character. So, when the feature is turned ‘on’ in the OpenType panel, the widths would alternate in a pattern such as: Narrow, Wide, Regular, Narrow, Regular Wide, Narrow, etc. It happens automatically so the user doesn’t have to think or worry about getting a random seed. With Hawkes Script, contextual alternates allow strokes to connect properly from one character to the next while maintaining a believable, natural flow. Connecting strokes are present for two letters next to each other but are replaced by a shorter stroke when located at the end of a word or sentence. Some characters have in-strokes when located at the start of a word. When a character is preceded by a capital letter that doesn’t connect, it too needs an in-stroke or altered spacing. This feature is complicated and messy, but luckily you don’t really have to think about it! I’ve done all the coding so all you have to do is turn ‘on’ the feature in the OpenType panel and you are off to the races! I’m just letting you know what’s happening behind the scenes. Swashes: These are just for Hawkes Script and provide tail swashes to the start and ends of letters. There are three different options. You can pick the basic option by turning ‘on’ the swash feature in the OpenType panel, or you can pick using the Glyph panel. Stylistic Sets: This feature work in new versions of Illustrator CC and InDesign CC. You can pick specific styling sets instead of turning on an entire feature. For example, let’s say you want to have a loopy S, but not a loopy C or O, you can just turn on the S in the Style Set. It also helps create the little drop box that pops up when you hover over a character, showing you the alternates associated with that character. This makes it easy to pick and choose specific styles you want in a word or headline. ---------- And there it is folks! That’s all the basic info on Hawkes, I know it’s been a lot and I appreciate you hanging on. If you are like me and need more of a visual reference to accessing all these goodies, I’ve made a user guide to help navigate Hawkes and everything it has to offer. Altogether this extensive family boasts 14 total fonts in a wide array of styles, weights and widths, making it a great addition to any handmade type collection. Enjoy!

Throughout the history of typography there have been countless attempts to simplify the alphabet. In the early 20th century, modernist designers experimented with reducing the alphabet to basic geometric shapes. Prozac pushes this utopian experiment further by reducing the roman alphabet to just six shapes. These shapes are then flipped or rotated to make up the 26 letters of the alphabet. Prozac is available without prescription in lite and max versions.

This typeface is based on Albrecht Dürer’s work “Die Underweysung der Messung” (Institutiones Geometricae, Instruction in Measurement). Please note that this font needs special treatment when typesetting text. If you need black text, you need to type just capital letters separated by spaces. If you need coloured text, type both lower case and upper case (with the lower case character first), and then assign a colour to the lowercase letters only.

In his book, Brushstroke and Freestyle Alphabets, Dan X. Solo called this fabulous fifties face Maidstone Script. Somewhat less willowy than the original, this version is still righteously retro, and takes its name from a collision between a poodle skirt and pedalpushers, two fifties fashion statements. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

This is a cute story about a mother and her son. :) About a decade ago my own mother got very interested in my work. She used to say my letters had so many swirls and dazzling swashes, and suggested my job seemed to be very fun. She wondered if she could ever try to make her own alphabet... Well, she is a civil engineer and a maths teacher, and appeared to be a little tired of exact sciences... I remember answering this, while she was listening with her typical tender look: -"Mamá... While type-design may be a really enjoyable thing to do, it also involves having a great eye and knowledge about the history of letters: nice curves and shapes require a meticulous study and, like it happens in many fields, practice makes perfect"-. Well, she raised her eyebrows at me. -"and so what?"- She didn't have any experience neither in the field of art nor in the field of graphic design so, I told her that if she really wanted to get into this she should borrow some of my calligraphic books from my beloved shelves in my office. So... she did. Some weeks after that, she came to me with many sketches made with pencils and markers: some letters where very nice and unique while others naturally needed some work. I remember she added ball terminals to all of her letters (even if they didn't need them) because that was one of the rules she imposed. After some back and forth, we had the basis for what would be today, ten years later, the seed of this lovely font Girasol. Her proposal was nice, something I was not accustomed to do, that’s why many years later I decided to watch it with fresh new eyes and finished it. While she was in charge of making the lowercase letters, I helped with the uppercase and also added my hallmark in the alternates, already seen in others of my expressive fonts. The result is an upright decorative font that follows the behavior of the copperplate nib with a naive touch that makes it really cute and useful for a wide range of products. Many alternates per glyph make Girasol a very fun to use font which will delight you. Above posters are a proof of that! This font is a gift for my mother, Susana, who, in spite of her exacts academic background, taught me that beauty can also be found in the imperfect. 1 NOTES (1) In my fonts I'm always in seek of the perfect curve. When I designed Erotica and Dream Script, I read about Fibonacci’s spirals!

I felt an urge to create a font that used the bars seen in an equalizer; Sound Board is that font. If you're going to use it, you will need to put the size up much more then a normal font, this font is very skinny and tall.

A couple of pieces of sheet music from France [circa 1925] offered the inspiration for Chanson De Paris JNL (Song of Paris), which is available in both regular and oblique versions. This hand lettered Art Nouveau style features a unique take on thick-and-thin lettering which foreshadows the Art Deco typefaces to come during the 1930s.

Parfum de Paris JNL is an all lower case Art Deco-inspired design that features counterless letters in a thick-and-thin style reminiscent of 1930s text styles. Casual and at the same time elegant, this font is perfect for perfume labels, menu headings and other 'stylish' titling evoking the look and feel of the 'Streamline Era'.

African fonts are characterised by design considerations that differ from those of Europe and the Americas. At one extreme we have a relaxed and casual approach to life that values the quality of each moment in life far more than people do in the west. In this approach each element of the font, while being part of a community, nevertheless stands on its own and has its own "character". An African font that characterises this approach is Ubuvila (the word means relaxedness or relaxation in Zulu). There is no strict adherence to a design format in Ubuvila nor are the characters constrained by resting on the same baseline. They wander up and down in the sentence and find a comfortable resting place.

Introducing Squid GT Display new generation Typeface with 9 Weights. Squid GT Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Squid GT is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Nine Weights. Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black.

The inspiration for this font came from a wall-writing in Cuba. At first glance we thought: "There is something wrong with the wall-writing." But a closer look revealed, that it just mixed up different stroke-styles. That "feature" became the designing principle behind CA Segundo: Round characters like O, U or C are available either with a fat or a thin stroke, whereas other characters with orthogonal lines come in two different styles – uppercase characters emphasize the vertical strokes, while lower cases emphasize the horizontal strokes. This gives you the opportunity to design just while you type.

Regon is a modern sans serif typeface/font family (18 fonts) designed with carefully handcrafted. This perfectly made to be applied in logo or branding, stationery, books, packaging, fashion, magazines, t-shirt, novels, labels and many advertising purposes. Styles: Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold, Black (All with Italic). Features: Uppercase, Lowercase, Number, Punctuation, Symbol, Multilingual. All the pictures used in the preview are not included. They are intended only for illustration purpose.

Lately I feel reluctant to watch the news: The Amazon Forest is burning, Australian forests are burning, palm oil controversy… It really brings tears to my eyes to see all this destruction around me. It is like people hate nature with a vengeance - I cannot explain it otherwise. I made this font to take my mind off things. It was loosely based on Futura, a font I really like. Understory was completely made by hand. It comes with some cute upper case swashes and a whole bunch of diacritics. The good thing is: no trees were cut down or burned to make this font; in fact, I donated a nice amount of $ to help save the rainforests!