Whassup y’all! Me and my bros got this li’l gang together: we is Ringo, and we got da bling, yo! We is da typeface family for ya all! We got some real sweet stuff for ya, some nice characters. We got all ’em OpenType features like fractions and proportional figgers, we even got da cubic root, man! And check out da question mark, man, is real sweet. And the ampersand, yeah! I luv ’em ampersands. Now my brothers over here got some light action for ya, and they got some real bold action for ya. We got some nice foxy curves goin’ on, some nice tension, and some nice relaxation. My bro Light over here is kind of like the subtle guy, ya know. He’s in for the female fans, ya know. Heh! Hell, yeah! And man, we speak like 84 languages: we speak the German, and the French, and the Spanish, and we speak the Polish, and the Czech, and the Hungarian, and we even speak Shambala and Swahili and Rundi, and we got some Esperanto thing as well for ya. And check out my bro Black right over here, he’s like the action superhero, man! He’s got impact, man! Yeah yeah, but you know, my bros Regular and Bold are the real deal. Them is like da word of da street, man! Like da word of you, and you. And we got a message for y’all: life is hard, life is real, but you should work your mojo, be smooth, be nice, chill. We got all them kerning pairs, and all them weights, and we got ’em alternate letters. So check us out, yo!

Brailganta Script is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Brailganta script provides alternative variants of most fonts, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, verses, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Thank you for watching!

When Patricia Lillie was growing up, she thought the coolest thing in the world would be finding her own name listed in a library catalog. The fantasy came true in 1986 when her first children's book was published. Five more followed. The thrill of seeing her work on library shelves hasn't abated, but today, Lillie is just as likely to see one of her typefaces on the cover of a book. She has created several display faces and image fonts. My first typeface designs were based on lettering I'd done while working for a library, doing graphics work for the children's section," she explains. "I currently do a lot of web design, but type is my favorite thing." The Tickles (ITC Tickle and ITC Tickle Too) are Lillie's first ITC typeface releases. "I was playing around with a Sharpie marker one day and liked the way the letters looked," she recalls. "I started redoing the letters from scratch in Fontographer to see what developed, and liked those letters too." ITC Tickle is a bi-form font (with both cap and lowercase letters of the same size) that clearly breaks a typographic rule or two. ITC Tickle Too has the same basic lettershapes, but they've grown clusters of stipples that give a three-dimensional quality to the design. The result is a friendly, offbeat display family that's guaranteed to add a giggle to your work."

Parfait Script Pro takes its inspiration from Spencerian script and pointed brush lettering. Technical Parfait Script has more than 850 glyphs. It’s up to you to choose, it’s up to you to have fun. Parfait would love to play. The font has lots of alternates. They'll certainly either embellish your words or provide more legibility. The alternates are: Standard Ligatures; Contextual Alternates; Discretionary Ligatures; Swashes; Stylistic Alternates; Titling Alternates; Terminal Forms; Historical Alternates * ; Stylistic Ligatures; Stylistic Set 1 and 2 * ; Ornaments. (* These Alternates are only included in Parfait Script Pro). Parfait Script Pro contains everything. Advice: Use designing programs that support the OpenType features named above, so you can easily alternate glyphs. However, for those who don't have this kind of program, or for those who don't want the entire font, we offer Parfait Script Pro as several separate fonts: Parfait Script Standard (the best for text); Parfait Script Contextual (decorative); Parfait Script Stylistic (decorative); Parfait Script Swashes (for giving the last letter a nice touch); Parfait Script Titling (both decorative and more Roman); Parfait Script Endings (for giving the word the look of a signature); and Parfait Script Ornaments (a set of swirls). These versions of Parfait Script Pro are Open-Type programmed too, in order to include the Standard, Discretional and Stylistic Ligatures. Pssst!... Take a look at Parfait Script Pro’s Guide in the gallery section in order to discover this beauty!

Karlo is a super family of several branches, originating in the same lightweight skeleton. The lightweights are based on a pen of an even stroke-width. Inspired by the writings of calligrapher Edward Johnston, the family moves on in two directions in the heavier weights. Johnston demonstrated that the broad nib pen can produce different writing styles. Following this, one heavy weight has a humanistic low stroke contrast (KarloSerifBold and KarloSansBold), and another has a high stroke contrast of vertical axis with references to the 19th century jobbing typefaces (KarloOpen). The latter is inspired by Johnston’s demonstration of the broad nib pen, where he suggested fastening two pencils together. With each pencil representing an edge of the pen, it becomes more evident how the pen works in writing. The friendly informal look makes KarloSans and KarloSerif usable for both running text and for display sizes. KarloOpen, on the other hand, is solely designed for display purpose showing few words at a time. In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities. Check out Pyke which is a great pair for Karlo.

An authentic style of feminine handwriting with a pencil Who still writes by hand? And who still writes nicely? What constitutes beautiful handwriting anyway? In Marleen Script nearly 100 stylistic alternates for individual letters and more than 400 ligatures are included. With these options it is finally possible to convincingly simulate the effect of true handwriting with a typeface. So, the form of the single character seldom repeats itself since it is mostly replaced with a ligature; and, with each combination of characters the result is a slightly different form of the individual character. Type set in Marleen Script appears remarkably similar to a text actually handwritten with a pencil. The characters of Marleen Script have intentionally been digitalized as a bit loose and irregular. Stylistic alternates are available for many of the letters, some even with various alternates to choose from, in order to produce a font with a very lively appearance. This typeface also fills a completely different kind of gap: finally, a ”typically female“ font. Spirited capital letters, the tendency toward loops and the obvious inclination toward the left are all common characteristics of ”female scripts.“ The original for Marleen Script was created by Marleen Baumann from Augsburg in the spring of 2010 using a sharp pencil on rough handmade paper. In spite of irregularities, this font is aesthetical. Although most people rarely put forward an effort with their handwriting, in Marleen Script one can see the desire for an attractive form.

What comes to your mind if I say Architype, Geometric, Gaelic, and Uncial? An impossible combination of features? An unrealistic setup of tastes as weird as your music list? Or some part of a joke told by your favourite comedian? Just chill and stick to the idea that is possible. Gallos combines the conceptual historical elegance of the Uncials with the practical rationalism of the Geometric style. Moreover, this typeface is composed by two sub families: Gallos Uncial and Gallos Architype. The letters “M”, “N”, “W”, “a”, “m”, “n”, “r”, and “w” differ between these two models. The first one is related to both: The Uncial script aspect displaying the leaned “a” with a closed bowl, and the classical geometric style depicting more conventional uppercase and lowercase letters “m” and “n”. The Architype one is inspired by Paul Renner’s Architype model, thus the leaned “a” has an open counter, the “r” is composed by a stem and a dot, and the rest of the mentioned letters were built using square rational features. Both models are connected by classical Uncial features such as the curved stroke “e” and curved shaft “t”, and with Gaelic vibes which can be seen in uppercase and lowercase letters “K” and “X”. Also, the curved descender “g” and “y”, alongside the curved stem “z” connect really well with the rest of the system and provide more uniqueness to the Gallos type family. Without further ado, we say to you: let’s make Uncials popular again!

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Sans is a modern sans serif with a geometric touch. Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Sans 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Sans" comes in 5 weights with matching italics plus "Trakya Sans Alt", also 5 weights and italics so a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one easy touch in all graphic programs. Trakya Sans is the perfect font for web use. You can enjoy using it.

Elido (Odile in reverse) is the sans counterpart to the Odile type. Together they form a sans/serif superfamily with a wide range of variations for editorial use. Elido follows Odile’s proportions and matches the weight and typographic color of its serif twin. Elido is a sans with classical proportions. A slight geometric hint and open counters convey an airy feel. Elido’s family structure and relations within echo the conceptual approach of Odile. The arched stroke low off the stem reveals a script characteristic most pronounced in the Elido Upright Italic. This particular interpretation is gradually diminished in the Italic and becomes even less emphasized in the Regular. Six balanced weights, from an elegant Light to a pronounced Black, are in tune with three display solutions and a set of beautiful Ornaments. These variants allow for a diverse and multifaceted typography for the discerning type user. Sans serif initials amount to a rare finding. The charming monolinear Elido Initials come in two flavors, elaborate and rational, designed to hold their own in editorial and headline sizes. This type design boasts an extensive character set, many OpenType features including roman and italic Small Caps, five sets of numerals, beautiful ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant glyph “s” for the Upright Italic. These distinct qualities with its versatile and sincere traits make Elido an excellent choice for text and display use.

FF Signa Rounded is a natural complement to the rest of the FF Signa super family – and can stand on its own in a variety of print and on-screen applications. The design is Ole Søndergaard’s rounded branch in his FF Signa family three. In it, he took the distinctive shapes and proportions of FF Signa Sans and created a warm, inviting design for text and display copy. Like its parent design, FF Signa Round is not a humanistic sans, nor is it based on 19th-century grotesques. Its characters are minimalist interpretations of letterforms – distinctive, yet easy to read. Thanks to FF Signa Round’s large x-height, open counters and simple character shapes, the design does not overpower the message – and draws the reader in. At substantial sizes, especially in the bolder weights, the design communicates with amiable conviction. At text sizes, FF Signa Round remains inviting and legible. It can be used as a companion to the rest of the FF Signa family, providing depth of style and breadth of reach. The collection of designs can also be used on their own for brand, brochure, publication, and way-finding design in digital and hard copy environments. Like the rest of the FF Signa family, OpenType® Pro fonts of FF Signa Round provide for the automatic insertion of ligatures and alternate characters, and also offer an extended character set supporting over 100 languages, including most Central European and many Eastern European – in addition to Cyrillic and Greek.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Slab is a modern slab serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Slab 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Slab" comes with 5 weights and italics; "Trakya Slab Alt" also comes with 5 weights and matching italics, giving a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one touch, easy to access in all graphic programs. Trakya Slab is the perfect font for web use. Enjoy using it.

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

Hey there! Introducing Sugar Peachy Retro Soft Display - a font that exudes happiness, uniqueness, and wonder! This groovy display font has a retro 70s style with soft and chewy characteristics that are perfect for display, titling, and even logos or headers. With 5 styles ranging from thin to black, you can use it for short text or large displays. Plus, Sugar Peachy has special features like alternates and ligatures that make it ideal for all kinds of design purposes like branding, product design, websites, posters, stickers, merchandise, and more! Similar Item: Gyoza : https://www.myfonts.com/collections/gyoza-font-ahmad-jamaludin Gunydrops : https://www.myfonts.com/collections/gunydrops-font-ahmad-jamaludin Kelpo : https://www.myfonts.com/collections/kelpo-font-ahmad-jamaludin Swipe: https://www.myfonts.com/collections/swipe-font-ahmad-jamaludin Replay : https://www.myfonts.com/collections/replay-font-ahmad-jamaludin Bright : https://www.myfonts.com/collections/bright-font-ahmad-jamaludin Margin : https://www.myfonts.com/collections/margin-font-ahmad-jamaludin Nighty : https://www.myfonts.com/collections/nighty-font-ahmad-jamaludin What you get? Sugar Peachy Light Sugar Peachy Regular Sugar Peachy Medium Sugar Peachy Bold Sugar Peachy Black Features : Alternates and Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Give your design projects that fun, playful edge with Sugar Peachy! Thank you, Dharmas Studio

Your designs are your self expressions and should represent your personal styles. Without the right font, it will be hard to be prominent and to impress your audience. Lost Buster is here to assist you. Lost Buster is a capitalized handwritten font in brush details to produce a manual brush-looking display adding creativity values to designs with this font. It also gives more personal, natural impressions to make people feel close to the brand or design displayed. The advantages of a brush-detailed handwritten font are first, the unique display to get the brand or the design easily remembered and noticed, and second, legible, applicable for various media. You can also apply this font for various text sizes for its legibility reason and enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Lost Buster fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

It occurred to me years ago that the graphic arts community might find useful a digital typeface that mimicked the classic look of nineteenth-century handwriting. Conveniently, my mother then still volunteered at the Center for American History at the University of Texas at Austin, my hometown. She made copies of the letters of a few famous Texans -- Houston, Austin, Travis, Burnet, Rusk. Thomas J. Rusk’s penmanship caught my eye as the most accessible of the bunch. I hadn't realized at the time what a challenge it'd be to render a realistic-looking script face, but the result has, in fact, filled a niche.

Geller Sans typeface have been developed based on his serif predecessor’s proportions. He’s quite handsome, quite organised. Looking at thin–extraheavy styles he has enough of charm to stand out in advertisement. In text styles you can relay on him. He’s able to meet demand of complex design tasks. Geller Sans has been fitted with wide range of OpenType features. As Geller Serif, he has bullets & dingbats, for easier entry-point making. Entire font family comes in 4 width (Regular, Narrow, Condensed, Compressed). Each width finds its best application in different typographic fractions what makes Geller Sans easy to apply in editorial graphic design. Who’d like to challenge him?

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

Get ready to groove with the Okezone Chamoon Groovy Display Serif Font! This font is the perfect blend of retro 80s style, funky cartoon vibes, and a dash of modern flair. With its wavy lines, extensive ligature options, and a whopping 758 characters, Okezone Chamoon is the ultimate choice for designers looking to infuse a playful and nostalgic touch into their projects. Key Features: Groovy 80s Aesthetics: Okezone Chamoon takes you on a trip back to the 1980s with its groovy and wavy design. It's like stepping into a time machine and bringing the funky, vibrant spirit of the 80s into your designs.Funky Cartoon Vibe: This font exudes a playful and fun-loving attitude that's perfect for creating eye-catching headlines, posters, and logos with a whimsical twist. Versatile Ligatures: Okezone Chamoon offers an extensive range of ligatures that seamlessly connect characters, enhancing the flow and style of your text. Experiment with ligatures to create custom and captivating typography. 758 Characters: With a whopping 758 characters at your disposal, you have a wide variety of options to make your text truly unique. Add special characters, symbols, and emojis to express your creativity. Multilingual Support: Don't let language barriers hold you back. Okezone Chamoon supports multiple languages, making it a font that can connect with audiences worldwide. Digital and Print-Ready: Whether you're designing for the web or print, Okezone Chamoon is optimized for both mediums. Your designs will look stunning on screens and in physical publications. Unique Branding: If you want your brand to stand out and be remembered, Okezone Chamoon is the font to make it happen. Its distinct style is sure to leave a lasting impression. Endless Possibilities: Whether you're working on advertising campaigns, retro-themed projects, or simply want to add a touch of nostalgia to your designs, Okezone Chamoon empowers you with endless creative possibilities. With Okezone Chamoon Groovy Display Serif Font, your designs will turn heads, evoke nostalgia, and radiate a playful spirit. Embrace the funky 80s vibe and let your creativity run wild!

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Eclectotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults. Now to delve into the stylistic alternates... These are all included in the salt feature, or for uses of applications that support them, separated into stylistic sets thus: ss01 - (with swash feature on) L and G swashes get even swashier. ss02 - standard s changes to a connected script s form. ss03 - r takes on a script form. ss04 - z also gets a scriptier look. [the previous three sets also change any versions of s, r or z with diacritics] ss05 - a useful underline function. When enabled, typing two or more underscores will extend a cool underline under the previous letters. More underscores = longer underline. ss06 - the Polish script lslash changes to its more standard form. ss07 - E, S and B change to a more top-heavy alternate form. ss08 - An alternate form for A characters. ss09 - Alterative rounder forms of M and N. ss10 - An alternate ampersand. That about wraps up the features. Now all that’s left is for you to license the font and get experimenting!

A typeface that celebrates marching to the beat of your own drum. Snare is a jazzy little display type that presents like a stencil but behaves in its own way.Featuring angled section breaks and variable heights, Snare keeps each character’s footprint steady as as its heights change, revealing unique crossbars, periscoping capitals and deep-sinking descenders. Because each character follows its own rules, the more each word grows, the more it shows the beautiful rhythm of variety. Or stretch individual characters to shape the contours of your words. Beyond just being playful, fun to dress in colors, and delightfully useful for tight spaces,Snare’s lanky verticals and nervous energy reflect the time it was created. In this second pandemic spring, Snare brings up the drumroll-expectant heartbeat of our uncertainty, and the wish that when we can all meet again, our newfound weirdnesses will find a home in the world. The Snare font family includes one uppercase alphabet with two lowercase variants and comes in ten standard weights-which-are-just-really-heights (.otf) and as a variable type(.ttf) for designers using compatible platforms. Snare was designed by Alexander Wright and In-House International and developed byRodrigo Fuenzalida at FragType. In-House International’s foundry was launched in the summer of 2020 to offer bold, experimental, display typefaces that tell a story. Our previous releases have been featured on Design Milk, DesignBoom, Slanted and all sorts of exciting places.

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Sánchez Niu is a redesign of Sánchez—one of the first font families by Latinotype designed in 2011. In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! This new version includes improvements that make it work well with longer text. Such improvements have not had a major effect on the look of the font, though. We have adjusted the original proportions and added a number of new characters as well as OpenType features such as small caps, oldstyle figures, tabular numbers and stylistic alternates. Sánchez Niu contains a set of 720 characters that support 219 languages. The font is well-suited for long text, headlines and logotypes, and it has been optimised for web usage. Sánchez Niu comes with two free fonts—Regular and Regular Italic! Corrections, digital editing and review by César Araya, Rodrigo Fuenzalida and Alfonso García.

Combine, designed by Carlos Fabian Camargo G, is powerful and attractive, multi-layered chromatic type family that consists of 12 fonts, typographically grouped in two logics: “Script and Caps”, so that they could be colored separately or in group. Both designed with contrasting optical techniques and combinable at the same time. The unforgettable central idea of Combine was inspired by unique types of speedball letters designed by ancient artists in Canadian posters of shows and fairs in 1930. This is why its Typographical tools work independently or in group, resulting in highly polished designs that need fonts with coupled effusiveness. Their combined resources offer guaranteed distinguishing letters with shadow effects and worn, in order to help enhance their expressiveness. Combine is excellent in any project on paper or screen as it has more than 2100 glyphs and features of OpenType distributed strategically in fonts easy to use. SEE BELOW THE MAIN ADVANTAGES: • Combine Script & Shadow: It offers incredible case sensitive fluency and eloquence drawn with vertical cursive letters with ornamental non-stop excitement and complementation. It also has a variety of significant upward and downward, alternative strokes combined with its vintage ties that also give authenticity to their designs. • Combine Caps 1,2,3 & Shadow1,2: Guarantees you a colorful horizontal area of narrow case with 2 types of shadows, sound and other shade with diagonal stripes. Its geometric uniformity gives a friendly, open and subtle character by Typographic and special resources and visual properties coloring layers separately or in groups. In addition, its 2 layers of skeletal illuminations, adding internal lines and simultaneously contributing to play perfect confrontation and contrast with their geometric ideas and aesthetics for special attention. • Combine Words & Shadow: It can be used to design a perfect tone in each one of the 50 slogans written diagonally, making a brilliant feeling suggestive seductive style. Compatibility and flexibility works by monoline thin cursive strokes ideal for featured items with and without shade. Combine was selected at the Bienal Tipos Latinos 2016

TT Tricks useful links: Specimen | Graphic presentation | Customization options TT Tricks is a modern serif font family whose design refers us to the style of transitional serifs. The distinctive features of TT Tricks are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature. The original idea of TT Tricks is based on the graduation project of student Sofia Yasenkova, who chose to create a daily planner font as her final project. This led to many stylistic decisions, for example, the large and asymmetrical serifs, low contrast strokes, and the presence of interesting details. In the process of working on TT Tricks, we have significantly revised the initial idea and expanded the areas of possible font application, while maintaining the original spirit of the project. Despite the large number of display details, the typeface looks great in a small point size, and also when it is used in large text arrays. TT Tricks features an original stylistic set which, when turned on, adds features of typical pointed-pen serifs to some of the lowercase characters. In addition, TT Tricks has small capitals for Latin and Cyrillic alphabets, as well as several interesting ligatures. The TT Tricks font family consists of two font subfamilies, these are the main version and the version with the original stencil cutting. Each subfamily consists of 12 fonts: Light, Regular, DemiBold, Bold, ExtraBold, Black + True Italics. Following a good tradition, TT Tricks supports a large number of OpenType features: ordn, case, c2sc, smcp, frac, sinf, sups, numr, dnom, onum, tnum, pnum, dlig, liga, calt, salt (ss01).

Merengue Script is the second typeface designed by Panco, once again together with Ale Paul, who supervised the whole development. In this opportunity, the process of shape research and the systematization of signs led him to dive into new waters. The objective was to generate a system of signs in which the construction of such was not directly bound to traditional calligraphy, nor to texts typography. Instead, the point was to create signs inspired in “Brush pen” calligraphy but with their main features drawn or literally illustrated. The result was a font with personality, authenticity and uncommon formal aspects that make Merengue Script an interesting, highly attractive and rather unusual font. From the very beginning, the search was based on creating a font with weight and good presence in big formats, but, at the same time, efficient for brief texts of small formats. The aim was to make it usable mainly in candy, sweets and chocolate packaging. The predominance of round shapes, harmonious modulations and funny and friendly-looking visual rhythms spark a special effect in the usage of Merengue Script. Texts are enhanced with an interesting visual charm, capable of transforming a very simple text into a virtual illustration that semantically reinforces the messages in a simple way, without putting legibility at risk. With a basic set of stylistic alternatives full of frills and flounces for initials, ornamental and final letters, plus a set of disconnected signs, Merengue Script offers a wide and versatile range of options for graphic designers in the process of packaging design.

The clock struck 2am. In the Wixendorf Café, a dingy diner off Route 75, the waitress behind the bar took another swig of whiskey—it was one of those nights. Ask to get a cup of coffee and you’re never sure how much will end up in your cup and how much will end up on the bar top. But it is hot, and paired with a plate of cherry pie? Why, that place is a slice of heaven. Tipsy Waitress, with a few too many swigs of liquor, is full of character and ready for any task—if you don’t mind a bit of sloppiness! The font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Western Europe language support - A whole heck of a lot of fun Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

Conthey Inline™ is your new retro-display best friend! The one and only, unique IN-AND-OUT typeface with strong personality and outstanding flexibility. This display sans features amazing variable fonts letting you adjust not only width of the letters, but also let you fluently transition from thin inline styles to thin outline ones. This mechanics opens a world full of layering possibilities as well as a great fine-tuning ability. The family consists of 39 OpenType fonts - 18 pure inline/outline styles in 3 widths (Narrow, Condensed, Normal) and 21 styles carefully prepared and tuned for layering. For even greater flexibility 3 variable fonts are included in the set. In addition to flexible width and inline-outline transitioning, this playful typeface features 4 different inline styles to spice up things even more! All styles were meticulously crafted with the highest attention to detail in the letterforms as well as spacing. Conthey Inline is a sibling of Conthey, a display unicase family as well as Lutschine, a versatile modern narrow display typeface. Conthey Inline composes perfectly with its family members, covering a very broad range of design scenarios. All these typefaces are a part of big type system containing also a workhorse sans serifs such as Rothorn and Montreux Grotesk. You will have a lot of success using Conthey Inline for any kind of playful, vintage/retro, organic, friendly and stylized designs. Especially, industries such as food & beverage, travel, hospitality, fashion, healthcare, sports, lifestyle, music, art, entertainment and products for youth are perfect areas to make Conthey Inline shine with all its charm.

Tatline Neue is a serif font family of 14 fonts encompassing a wide range of weights — from Thin to Heavy. Tatline Neue was modelled after the original Tatline display font, but this major overhaul resulted not only in updated and tweaked shapes and smother curves, but also in addition of 13 new weights, making Tatline Neue a perfect tool for designers and typographers alike. Each font contains 450 glyphs, multiple sets of numbers, stylistic alternatives for certain glyphs, ligatures, numerators, denominators, old style figures, and other symbols. Tatline Neue can be freely used across Western European, Central European, South Eastern European languages. Tatline Neue was designed from the scratch to keep glyphs consistent across all weights. Thinner fonts are more uniform, with little to no variation in the weight of the strokes. Bolder fonts, on the other hands, are chunky and somewhat comic —in a good way. Tatline Neue was born out of a display font, losing none of its original quirkiness and vibe. While serif fonts are often seen as vintage and orthodox, Tatline Neue strikes a livelier note: one of cheekiness, bizarreness, quirkiness, and expressiveness. Thanks to a wide range of weights, Tatline Neue is a great tool for a variety of projects: whether it's used for plain text in a larger body of text or as a headline font, or even as a key element in a logo creation or brand identity. Tatline Neue is a serif font for those who are tired of seeing the boring in the typography and design; it's a font for explorers, for adventurers, for those who seek to find their own voice.