Mesmerised by the sparkling greenish-yellow mineral called Olivine hidden within the black basalt of Lanzarote's lava fields, we named the gem of our library after this natural beauty. Peridot is not just another typeface – it's a multifaceted sans serif type system crafted with passion and precision by Foundry5. Painstakingly developed through long hours and a keen focus on every minute detail, this typeface boasts a high-quality 10 weight family with matching italics in 6 widths, and the highly versatile variable format. Brimming with character, Peridot invites you to experiment with its various stylistic variants, allowing you to tailor the typographic tone to fit your creative vision perfectly. The diverse range of widths and styles in Peridot offers a dynamic typographic toolbox, ready to inspire and captivate even the most innovative designers. Peridot Devanagari supports Devanagari and Latin and covers over 330 languages. It includes all required localised variants, tabular numerals and currencies, fractions, clever discretionary ligatures and many more features. Peridot performs in varied environments – from branding, display, corporate use, editorial, advertising, poster, web, screen usage etc. Think of any other use case as well, and Peridot will perform. Peridot Devanagari comprises 20 static fonts, family package, and variable support. It is the gem you ought to have in your collection.

Introducing Echowarp is an unusual COLORED font family. Main idea of ​​this font is that a colored echo spreads and fades from minimalistic letters to the sides. Distorted letters give the effect of temporary refraction. The originality of this family is primarily suitable for a bold design. And if you add a random distortion in a graphics program to the finished heading written in this font, the inscription will turn into an absolutely unique and inimitable one. Futuristic set has 23 fonts in the family! Do not limit your imagination, because the font opens up a huge space for creative experiments. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works Letters with color echo & distortion 23 OTF SVG color fonts in the family Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Discover Cocogoose Pro Narrow Weights! Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark color and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and color-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters. Cocogoose Pro has been completely re-engineered in 2020 to include extra features and technologies. A variable font version allows you to fine tune precisely the appearance of the text while minimizing download size on the web. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new text subfamily has been developed for body text usage, to keep the look and feel of Cocogoose while maximizing readability on screen and on the printed page.

Whatever the medium, Girard’s love for typography was the common thread that wove his work together. We are honored that the Girard family has entrusted us to celebrate and expand upon the legacy of this design icon with this collection of fonts. The Girard Slab family gracefully synthesizes illustrative sensibilities into a practical typographic framework. Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. From boutique chocolate packaging to the titling sequence for an indie vegan superhero cartoon, Girard Script deftly adds a contemporary sophistication to text and display settings. Inspired by a workhorse lettering style that helped Alexander Girard implement thousands of design elements in his overhaul of the Braniff identity system, Girard Sky pulls its weight in any contemporary application. In Girard Sansusie, each character stands alone as an illustrative element while coming together with its counterparts as a whimsical yet functional typeface. FEATURES: The ligatures feature substitutes specially-drawn letter combinations that combine two, three or even four characters to create smoother transitions and simulate lettering sensibilities. Girard Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. Copious alternate characters and “smart” OpenType programming allow Sansusie to escape the rigid confines of typography to come alive as if flowing from Girard’s sketchpad. This animation shows a sampling of the swash characters available in the font. GIRARD CREDITS: Typeface Design: Alexander Girard, Ben Kiel, Ken Barber, Laura Meseguer Typeface Production: Ben Kiel Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Ashemore developed as a result of my visits to Barcelona, Spain and to Germany, followed soon after by a visit to Asheville, North Carolina. Blending the styles of art and architecture from these three areas may seem initially to result in an unusual formula, but the distinct and flamboyant style of Art Nouveau and the Arts and Crafts style combined with the more strict rules of a sans serif transfer well into a beautiful and very usable blend of these individually eccentric forms. The resulting font retains the Art Nouveau and Craftsman style flavors, which shine through the typeface despite its geometric base. One of the font’s defining characteristics is the unique terminators of its C, G and S. This face’s texture and rhythm also moves well in longer texts. These and other features give Ashemore a restrained bohemian vibe that seems particularly appropriate for a coffee house or an art gallery. The Ashemore family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.

La vie est une fleur dont l'amour est le miel Fleur is the French for flower and I've chosen this language for a good reason. Over the past 5 years, I've had the opportunity to travel a lot to Paris and I've always tried to catch every moment and detail of this delightful city through the eyes of the designer inside me. Paris is full of surprises, mainly for us, artists. In fact, I believe the city is a museum itself. Every corner of any street has something inspiring. But, there’s something I particularly love and I want to address here: The Palais Garnier. Built between 1861 and 1875, this opera house is a dream made true for many of us, who love somptuosité. Garnier, the architect of this magnificent building, said that the style he proposed was not Grecian nor Roman/baroque, he created something new and called it Napoleonic: Luxurious at its best. Fleur is inspired in this palace which, in fact, has some similar letters inside. Garnier put his name at the ceiling of the Rotonde des Abonnés: Letters are interlacing each other with nicely done art nouveau curves. I thought I could take this idea and achieve something very delicate and imposing at the same time if the font consisted entirely of caps with the logic of a didone and a bit of art-nouveau. This mix of elegance and flamboyance gave birth to Fleur which has a wide range of uses but was mainly intended for perfumes, fashion magazines, storefronts, book covers or logos. Not only you'll find many decorative glyphs, but also a vast amount of unique ligatures will make you really adore this font. Get Fleur and profite de la vie TECHNICAL As suggested above, the font has many open-type coded alternates and a vast amount of unique ligatures. Install the font in applications that support them, like Adobe Illustrator or Photoshop.

Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882–1956), Imre Reiner (1900–1987), Walter Brudi (1907–1987), Kurt Weidemann (1922–2011) and Frank Heine (1964–2003). During extensive research phases for Referenz Grotesk included collection and analysis. This led to further research in the Academy’s collection and archive where the majority of Weidemann’s estate is housed next to works of other designers and professors like F.H. Ernst Schneidler and Walter Brudi. Another place of research was the typesetting workshop where Schneidler had previously taught and worked. Some of his freshly cast fonts were tested and used there for the first time and are still stored in several of the type cases. Regarding the more recent history, for instance about the Emigre designer Frank Heine, former colleagues and professors have been consulted. These studies resulted in the new font Referenz Grotesk that includes traces of Kurt Weidemann’s Corporate as well as calligraphic hints that link to Schneidler’s Stuttgarter Schule (Stuttgart School) where writing played an important role during the form finding process. For the regular text fonts these features are integrated in a subtle manner whereas several alternative glyphs pick up more expressive forms. The final sans serif type family has a clarity and contemporary straightness that becomes more characteristic in its heavier weights. Additionally more than 60 alternative glyphs per weight allow for individual combinations that can be tailored specifically for each application and context. They open up a broad range of visual expressions, from subtle to playful and eccentric characteristics. Referenz Grotesk is available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black, plus italics. In addition, the family includes multiple OpenType functions such as Stylistic Sets, Tabular Figures and Case Sensitive forms. Variable version of the font is included when you license the full pack.

🏆 Selected for Tipos Latinos 9. 🏆 Selected for the 13th Biennial of Brazilian Graphic Design. 🏆 Hiii Typography 2018 Merit Award. Kiperman is a text typeface designed in honor of Henrique Leão Kiperman, founder of the publishing house Artmed, now Grupo A. Its forms are simple and straightforward, with no unnecessary embellishments that could disturb the reading. The fonts are slightly narrower than normal, which yields higher efficiency without compromising reading comfort. Besides that, its italics are not just a slanted version of the romans, but rather a separate drawing. With a slope of 8°, its calligraphic structure provides the right amount of emphasis when necessary. The Kiperman typeface works best when setting books, magazines, ebooks and websites. It will also work very well in branding and packaging projects where a sober typeface is needed. The inspiration for the design came from the personality of the honoree. Just as Henrique always wanted to stay away from spotlights, the Kiperman typeface was designed so that it would not call attention to itself or impose any obstacles in the understanding of the text. In this way, the fonts revere Henrique’s legacy by respecting and honoring the published content. Henrique Leão Kiperman began his career in 1958, selling medical books in travels through the interior of the Brazilian states of Paraná and Santa Catarina. In 1973, he opened a bookstore in downtown Porto Alegre, the Artes Médicas Sul, and a few years later edited his first book. Since then, his company has grown to become one of the most important publishers in Brazil in the area of scientific, technical and professional books, with more than 2400 active titles distributed among the McGraw Hill, Bookman, Artmed, Penso and Artes Médicas imprints. Henrique passed away in 2017 at the age of 79. The Kiperman type family has been commissioned by Grupo A and is available for licensing. This was the way found for the fonts to be read by more people, spreading some of his spirit around the world.

Allow me to share with you the exquisite and elegant font, Carouselambra. This magnificent typeface pays homage to the typography on Led Zeppelin’s Houses of the Holy album jacket, and is sure to transport you back in time to the late nineteenth century. Carouselambra is a beautiful and intricate representation of the Arts and Crafts lettering style that was all the rage in that era. The font’s interlocking Art Nouveau effect is truly a sight to behold, and can be easily customized with OpenType-savvy software such as Photoshop, Illustrator, or InDesign. With Carouselambra, you have the option to use standard ligatures, which your application can automatically substitute to create a stunning and seamless design. However, if you prefer to have more control over the ligature replacement, you can simply turn off this option. Whether you’re looking to add a touch of elegance to your design or simply appreciate the beauty of Art Nouveau, Carouselambra is the perfect choice. Elevate your design today with this exquisite and timeless font. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

You want a typeface that’s gonna command attention? You want a typeface that’s gonna make your message scream out, “Hey, look at me!”? Then you need Walken. This slab serif is built like a brick house, with sturdy letterforms and robust serifs that mean business. And don’t think you’re gonna get some plain vanilla lettering here. Oh no. Walken’s got some tricks up its sleeve. We’re talking custom letter pairs, baby. OpenType ligatures that’ll swap out some letter combinations and create a unique, unpredictable look. You’ll get a mix of stencil and non-stencil characters that’s gonna give your message a personality all its own. Now, if you’re not satisfied with just one tough look, Walken’s got you covered. We’ve got three, count ’em, three forceful options: Clean, Crisp, and Hard. So whether you’re aiming for a sleek, professional image or a rough-and-tumble vibe, we’ve got you covered. So what are you waiting for? You want a typeface that’s gonna make you stand out from the crowd? You want Walken. But be warned: this typeface means business. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Indulge your aesthetic sensibilities with Maychurch, a typeface of unparalleled grandeur that evokes the most magnificent architectural styles of history. Inspired by the meticulous craftsmanship of drafting technicians, this font is the pinnacle of precision and refinement. Maychurch is the perfect choice for those who appreciate the grandeur and opulence of Georgian, Neoclassical, Federalist, or Victorian styles. It exudes a timeless elegance that transports the viewer to a world of grandeur and sophistication. With its bold, clean lines and intricate details, Maychurch will make a bold statement in any design project. It captures the essence of grandeur and timeless elegance, conjuring images of awe-inspiring landmarks such as the White House and the British Museum. So why settle for ordinary typography when you can have Maychurch? Elevate your designs to new heights of sophistication and beauty with this architectural masterpiece of a font. Make your mark with Maychurch and impress your audience with a sense of refinement and taste that is second to none. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

“Kindah” is a Yemeni ancient tribe with evidence of its existence going back to the second century B.C.E. The kings of Kindah exercised an influence over a number of associated tribes more by personal prestige than by coercive settled authority. The Kindites were polytheistic until the 6th century CE, with evidence of rituals dedicated to the gods Athtar and Kahil found in their ancient capital in south-central Arabia. It is not clear whether they converted to Judaism or remained pagan, but there is a strong archaeological evidence that they were among the tribes in Dhu Nuwas' forces during the Jewish king’s attempt to suppress Christianity in Yemen. They converted to Islam in the mid-7th century CE and played a crucial role during the Muslims' conquests of their surroundings. Among the most famous figures from Kindah known as Kindites are Imru' al-Qays (526-565?), al-Ash'ath ibn Qays (599-661), Hujr ibn 'Adi al-Kindi (?-660), al-Miqdad Ibn Aswad al-Kindi (589-653), and Abu Yusuf Yaíqub ibn Ishaq as-Sabbah al-Kindi (805-873) known as the Philosopher of the Arabs. "Kindah" font is a modern Kufic font comes in three weights (i.e., bold, regular, and thin) which is mainly designed to be used as a display Arabic font. The main feature of this typeface is the mixture of curves and rectangular shapes used in the designed Arabic characters. Kindah font was inspired by the design of the Yemeni modern windows of houses in which only top part of the arc is used for building such windows which reflects the originality of the architecture preserved in this part of the world. "Kindah" font is extremely outstanding when used in printed materials with big sizes especially for headline, titles, signs, and names of brands. Hence, it is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It has also a Latin character set and it also supports several Arabic character sets which makes it proper for composing alphabetical and numerical words in Arabic, Urdu, and Persian.

Military style stencil type, badly bruised by shotgun fire, wear and tear. Now ready for action in more languages! Vic Fieger says: "The original letterforms were not the famous military stencil, but were drawn freehand then scanned into Photoshop. Next, they were altered using a series of brushes before being imported into a font. This font has been used in the Flash games Pandemic and Artillery." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "Western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Victorian Orchid is a gorgeous vintage flower. Victorian Orchid is a beautiful, organic serif font family available for both text and display. Its bizarre serifs for A and other diagonal letterforms came from decorative types and letterings in old Victorian era. These unusual serifs support and enhance the horizontal flow of the eyes and vertical alignments. Very eye-catching lowercase g also came from the Victorian era and this is one of the most dramatic letterform of this font. Lowercase such like n and d also have horizontal serifs which designed in the same theory. Victorian Orchid is somewhat organic, humanistic and soft-impression font like Transitional Serif as typified by Times New Roman. But at the same time, this font has horizontal serif and vertical stressed letterform like Modern Serif. They make this font sharp, handsome and neat. In addition, Victorian Orchid has low contrast and the serifs are not too flat and not too coved. By them, Victorian Orchid create strong and casual impression like Slab Serif fonts. Victorian Orchid family consist of 5 weights from Light to Bold including about 500 glyphs, international accented letters, some OpenType features. Italics are "True" italics which designed very carefully to match Romans.

TELEPATH Telepath by Coniglio Type, first appeared in 1998. It is now in opentype .otf as of 2021. Telepath is a master sampling of a Royal office typewriter of industrial strength provided by the Miller Furniture store, of Dunkirk, New York. It had a baseline set of numbers to make accounting practices easy and line up nicely on the statements. (No gentile old fashioned numerical ascenders and descenders.) Yet, for a a rather old and stolid machine, it was very luxurious and built to definitely take the test of time. Cudo's for Royal Typewriter Company, is all I can say. The set of images were very carefully gathered and has fallen into the preferred category for a typewriter font that has it all. The font has exceptional value as a text font -and- a display font. It contains a great deal of graphic information and doesn't spike at higher sizes. Telepath presents a strikingly handsome typewriter font with a uniquely intuitive difference. Unlike the original source material—scans of monospaced typewriter copy, every font is painstakingly hand kerned for your most demanding copy fitting work in justified or casually ragged settings for print or the web. All Coniglio Type fonts are 100% embeddable. It will get you there.

ITC Tabula is meant to be read. The design grew out of a study to create a font to set film subtitles. According to Julien Janiszewski, the face's Paris-based designer, “I set parameters for the design whereby the letters had to be able to hold up at very small sizes when set on film and yet must be able to be enlarged 2000 times to be read on a theatre screen.” The subtitle font was not completed, but several months later Janiszewski revisited the design and made a discovery. “I realized that the constraints I had established for the subtitling font was not that far from those people could have in creating typographic signage. Many time this calls for a font that can be used easily in very large sizes for headlines on highway billboards and quite small for text copy.” Work proceeded for two more years before Janiszewski was satisfied with the results. The final design is a somewhat squared sans serif family of four weighs with corresponding italics. Janiszewski also wanted to create what he calls a “sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation.” ITC Tabula is not only easy to read, it is also a distinctive and handsome design.

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!

Second Reign is a decorative medieval typeface. With borders and diamonds, this magic typeface of extreme variability brings us to glorious worlds in the golden times of epic sagas. Second Reign is the typeface of a viking king or a knight order. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. Use [ ] for side borders. Example: [Royal⚔Thrones] The Second Reign family consists of four variations: The weight styles Thin, Medium and Bold, plus the decorated Border style. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop. Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

OkayCursive began over coffee, in a local flower shop, where my wife takes a floral arrangement class. I discovered a book there, with old photographs from Paris of flower shop displays. What caught my eye in the background of one of these photos, was the hand-painted lettering on a sign. Inspired, I quickly sketched some of the letters on a napkin and stuck it in my pocket. I began to sketch more over the next few days, looking to construct a full-out cursive font with this distinct French look. I wanted my design to be creative & free flowing, but I also wanted it to be at least somewhat proper. So, I consulted some schoolbooks for reference on the correct cursive forms. After more drawing, I began to create the final vector art. Gradually, these ideas -- plus many hours of careful kerning and metrics -- came together to form OkayCursive. Use OkayCursive any time you want fancy, legible, and luxurious text. Works great if you are designing a logo, or use it to create some beautiful titling. Use it for advertisement copy, or even for short to medium-length bodies of text -- go ahead and have fun with it. OkayCursive is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

STF Eclectic Two contains more of the useful and the sublime. Alarm clock time icons and many characters which connect add extra usefulness to this dingbat font. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. With over 100 characters in the complete set, you'll find yourself using Eclectic Two almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcTwo features an complete architecturally-inspired alphabet, more of those smiley face variations, the eight ball, alarm clocks for the hours, the bouncing ball (with connecting dotted lines!), the paper airplane (flying and crashed!), the work dog, the chainsaw, Dorothy's slippers, the sideways arrows again, a handicapped symbol, chicken feet tracks, male/female symbols, gears, polynesian-inspired ornaments for patterns, a lighthouse, a torch, and more. Sounds twisted, eh? Make your own juxtapositionsof characters for funky borders. Available in Mac and PC formats. License it today!

X RUFFIAN Ruffian was a champion thoroughbred horse who won 10 consecutive races. A feat worth mentioning & repeating. Her tenacity & steadfast approach established the basis for this variable based font. The X represents both the Roman numeral 10, but also the X-factor for creating bespoke works of art. It is quite befitting that this font be named after a legendary champion. Which begs the question...Do you champion variety? X Ruffian's design motif uses a broad tipped chiseled marker that was set at an angle for that extra bit of vigor. Identical letter forms defeat that truly "hand rendered" look that we ultimately strive for. Each uppercase letter offers 10 (X) or more stylistic alternatives, the lowercase and number sets have 3+ options and an over under for those special characters that yield a long bottom or top (see images). Ligatures & bonus characters can add that unique offering to your already individual style & can easily be found via the glyphs panel in any open type program. With a gigantic glyph count of 688, you'll never run out of options. As a right of passage, we felt obliged to include a roman numeral set as the name beckons, which differs from the standard letter form in which you would use to create. This is a variable winner. See you at the races!

Third Reign is a decorative medieval typeface. With braids and pearls, this swirly typeface of extreme variability brings us to the golden times of epic knight sagas. Third Reign is the typeface of a Middle Age queen or a viking ruler. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. Use [ ] for side borders. Example: [Magic⚔Thrones] The Third Reign font family consists of two styles: The decorative Border style, and the plain Regular style. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! CALLING ALL CREATIVE PEOPLE and any other creator who wants their work to stand out. Edcosmic is an urban glyphic font that pours unique character into your creation. The traditional way of having graffiti style is to draw every letter manually. For every styles that you want to create, you’ll have to draw each letter by hand. This will take you days and most likely months to finish your project. With technical development, it limits the use of graffiti style in real life because it is so time consuming. Edcosmic is a graffiti font with an elaborate character set that makes creating the new styles easier than ever before. You don’t have to draw every single letter by hand anymore. What took months can now be done within hours if not minutes! You are still limited by your own creativity instead of time consumption. Edcosmic is a font with a new graffiti character set that gives creative freedom to your world. The font has very detailed characters, this will make your design different from all the others. By having a special font you can create a new style and make the world your own! A Million Thanks www.colllabstudio.com

The Wingdings™ 1 font was designed by Kris Holmes and Charles Bigelow in 1990 and 1991. Wingdings 1 originally named Lucida Icons, Arrows, and Stars to complement the Lucida text font family by the same designers. Renamed, reorganized, and released in 1992 as Microsoft Wingdings(TM), the three fonts provide a harmoniously designed set of icons representing the common components of personal computer systems and the elements of graphical user interfaces. There are icons for PC, monitor, keyboard, mouse, trackball, hard drive, diskette, tape cassette, printer, fax, etc., as well as icons for file folders, documents, mail, mailboxes, windows, clipboard, and wastebasket. In addition, Wingdings includes icons with both traditional and computer significance, such as writing tools and hands, reading glasses, clipping scissors, bell, bomb, check boxes, as well as more traditional images such as weather signs, religious symbols, astrological signs, encircled numerals, a selection of ampersands and interrobangs, plus elegant flowers and flourishes. Pointing and indicating are frequent functions in graphical interfaces, so in addition to a wide selection of pointing hands, the Wingdings fonts also offer arrows in careful gradations of weight and different directions and styles. For variety and impact as bullets, asterisks, and ornaments, Windings 1 also offers a varied set of geometric circles, squares, polygons, targets, and stars. Character Set: Picture/Symbol

A tessellation is a shape that can be used to completely fill the plane. Simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble animals including horses, goats, rabbits, fish, frogs, and other vertebrates. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

Good Karma (its namesake) will be extended to you as you use this new relaxed script family. Originally, produced from hand and the sumi brush of Neil Summerour, Good Karma Smooth is a smooth digitization of the original exemplars in Good Karma. Good Karma Smooth is filled with a lot of heart, reliable and genuine movements, and a wide range of letter options to befit any project needing an honest hand-lettered look. And on top of that, proceeds form the sale of this typeface will be distributed to charities and organizations intent on combatting the Covid-19 global pandemic. Each typeface comes with an additional set of stylistic alternates (upper AND lowercase) that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. To further expand the usefulness of this peaceful script, a separate Caps/Small Caps font has been added that provides the simple contrast needed to bring the script fonts forward. Rather than limit the personality of this script, various styles have been produced to complement the original Regular—Upright, Wide, Wide Upright, and the aforementioned Caps fonts are included in hopes of helping you find the perfect variation needed for your composition.

The Cabrito family is back again to make a statement. Released as a complement to the children's book, The Clothes Letters Wear, the original Cabrito is light-hearted, fun, and easy to read. Now, balancing this friendliness with a new elegance, Cabrito Contrast steps forward--a handsome typeface with an extra-sophisticated sensibility injected into the design. Still bright and playful in its Cabrito ancestry, this new Cabrito member approaches the field with a cleaner, more reductionist form, ensuring that its polished look retains the readability. Regular features and Italic forms of the 54 fonts include upright alternates, ligatures, and old figures. A range of weights include extended and condensed variants. To preview any of these interactive features, see the PDF manual. The family also includes language support for 72 Latin-based languages, and there are over 600 glyphs for further refining your work. Cabrito Contrast is best used for logos and packaging as well as flyers and websites, though its readability makes it a great option across a wide variety of works. In short, it’s well-designed just for you. Take a stroll with Cabrito Contrast, and see how much fun refinement can be. Along the way, take a look at a few other members of Cabrito, too and see how well the likes of Original, Inverto or Didone can pair with the new Contrast.

Entendre Rough defies the conventions of most distressed typefaces, as it is an actual text typeface family. Sure, you can use it for your big display type, but you can also use it for body text. Entendre Rough is a stately, commanding and handsome distressed sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre Rough spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre Rough includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre Rough’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre Rough family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre Rough pairs well with our non-distressed Entendre family and our rounded sans serif family Elpy, sharing similar proportions and spacing.

LunchBox Slab is the pair of LunchBox, a uniquely hand-drawn typeface that gives numerous customizable options and a fully authentic look. The serifs in LunchBox Slab are simple blocks, with bulbous terminals on curved letters, which creates a unique effect. Identical to its pair behind the scenes, LunchBox Slab’s OpenType features allow access to over 1,500 different characters. Contextual alternatives give each letter 4 different character styles, all cycling through each other to ensure that no two letters ever show up together. There is also a custom set of small caps, each with 4 style variations as well. Stylistic alternatives give an extra hand-drawn flourish, loop and slight variation, also with 4 different styles per letter. Discretionary ligatures pertain to both regular all caps LunchBox as well as stylistic alternatives. It gives special letter combinations a unique interaction, giving your design a unique and personalized look without spending hours creating it and outlining your text. Included are also a set of swashes that also have four style variations to both the regular and stylistic alternatives, as well as lowercase letters with ascenders and descenders. All of these options are available in Light, Regular and Bold. LunchBox Slab Ornaments includes nearly 200 different graphics, flourishes, frames, catchwords, text breaks and arrows. If you do not use OpenType but are using a program that includes a full glyph panel, you will be able to manually access each of the style variations you want. Enjoy!

Brasserie, the font, is a tribute to all brasseries since they are wonderful places to relax and enjoy food, wine and friends. It is also a salute to Parisian neon sign makers who continue in their difficult quest to adapt type, including script, into fragile, gas-filled, electric glass tubes. I tried to capture the spirit of these neon signs and combined it with the loosely styled handwritten menus written on blackboards that are usually placed outside Brasseries. You will find Brasserie to be very useful in many situations where you need clarity with style in a reasonably compact width. It is also creates an unusually even texture in sentences. Brasserie is a fairly upright script with a large x-height, which helps to save on overall width. Like a brasserie, the font is a relaxed and informal script, useful for logo, packaging, menus, editorial, advertising, invitations, etc and is available for Mac and PC in Opentype, Truetype and Postscript versions. In France, a brasserie is a café doubling as a restaurant with a relaxed setting, which serves single dishes and other meals. It can be expected to have professional service and printed menus (unlike a bistro which may have neither), but has more informal eating hours than a full-fledged restaurant. Typically, a brasserie is open every day of the week and the same menu is served all day. The word 'brasserie' is also French for brewery and, by extension, "the brewing business".

An inscriptional titling font for truly epic headlines. Allrounder Monument is an inscriptional, dignified member of the Allrounder superfamily. This all-caps typeface with delicate serifs was inspired by ancient inscriptions on columns, monuments, and buildings in Rome: letters as old as two millennia that radiate their own classic charm. Allrounder Monument picks up this atmosphere in order to create a typographic tool that lives up to contemporary demands. It infuses today’s designs with a hint of history and an air of exclusivity. Allrounder Monument is a timeless titling typeface. You might use it for posters, magazines, book covers, greeting cards, advertising or packaging work, and even signage. If you want an even more spectacular and exciting headline or title, additional Discretionary Ligatures and a Stylistic Set provide the necessary OpenType power to achieve this goal with ease. As Allrounder Monument is a part of the Allrounder superfamily, you can combine the three weights Book, Regular and Medium with the corresponding weights of Allrounder Grotesk. The Allrounder superfamily is a series of typefaces sharing the same color and horizontal metrics (cap height, small cap height and x-height): a typesetting system whose components match each other perfectly. Any other part of this design kit, e. g., Allrounder Grotesk or Allrounder Antiqua, may be easily combined with Allrounder Monument. Whenever you need a truly epic headline, Allrounder Monument is the best horse in your barn. Ad astra!

Soho is the latest addition to the growing range of typefaces from Sebastian Lester. This grand opus of a project resulted in a typeface that comprises nine weights and five widths of precision engineered OpenType. 40 fonts, 32,668 characters and 24 OpenType features. Hot on the heels of the popular Neo Sans and Neo Tech range, and his first typeface release Scene, Soho represents three years of work by Lester. As a type designer I'm preoccupied with finding ways in which I can address modern problems like good legibility in modern media, and create fonts that work precisely and efficiently in the most technically demanding of corporate and publishing environments." Slab serif typefaces are enjoying something of a renaissance, offering versatility whether for corporate identity, product branding, text or display use. With 40 weights to choose from Soho gives designers endless possibilities from the ultra chic lines conveyed by the lighter weights to the rock solid statement made by the heavier weights. Soho is cross-platform compatible. The Pro version provides extended language support for Central European languages. Used in conjunction with software applications that support OpenType many useful features like "stylistic sets" can be leveraged -- in which a wide variety of alternative characters can be introduced at the click of a mouse button giving one font several "tones of voice" from conservative to cutting edge. The wide range of glyphs includes ligatures and small caps."

Patrick Griffin's sister is a really annoying individual sometimes. Not only is she into theater, but she thinks everyone else in the universe is into it as well. So once in a while tickets to local or provincial Shakespearean plays get delivered to the mailbox or dropped off on the living room's table. And once in a while the tickets just cannot be "lost" or ignored. Three or four times a year, Patrick must be subjected to Olde Englishe Speake, umbrella dresses and squeezetops, featherhats and men in leggings, rhyme and treason, mortality and immorality, drama inflicted by some mama, and it never ends. Last June it was Hamlet. Again. Someone's (wink wink) idea of a good time. There he goes, the Prince of Denmark, holding that skull with the tips of his fingers like it's an alien egg. Alas, poor Yorick! Yadda yadda boop-bop-a-loo-bop. And so the idea of a font made of skulls was born. And what can we possibly be but conduits for such abhorring ideas? Where be our gibes, our songs, our flashes of merriment? Skullbats has more skulls than you'll ever see in your lifetime. At least we hope so. Scary skulls, funny skulls, evil skulls, strange skulls, pixel skulls, fiery skulls, surprised skulls, happy skulls, sad skulls, cow skulls, sketched skulls, profiled skulls, light bulb skulls, cartoon skulls, techno skulls, alien skulls, expressionist skulls, pirate skulls, horned skulls, and skulls with whacky headgear. You name it, it's there. There's even a disco skull there for you. We lost count at 90 skulls, but there's a few more in there. For a complete showing of the skulls in the font, consult the image in the MyFonts gallery. Patrick's sister didn't turn out to be so bad after all. After making this font, he couldn't help but notice that her skull was a bit small compared to his. So now he takes every opportunity to remind her that the size of the cranium is relative to what it houses. Her upcoming halloween present will be a shirt with guess-what on it. Shirts, now there's putting Skullbats to good use!

PUBLIC SERVICE ANNOUNCEMENT: Price Didone has inspired a full alphabetic font - Mastadoni, so if you're after more than numerals, head over there! Price Didone is a font with a singular purpose: The setting of elegant, stylish price tags. As such it is non-alphabetic, featuring instead numerals, a large array of currency symbols, and a smattering of typographic niceties such as quotes, brackets, pilcrow, daggers and a very curvaceous ampersand. Certain currency symbols that are not independent glyphs (Q, Ft, kr etc.) are included as their constituent letters, some of which also have automatic ligatures for that little something extra. There are currency symbols included which have not (yet) been accepted to unicode, such as the Russian Ruble and Bitcoin symbols. For ease of access, these can be typed using the standard ligatures feature. See features below for the full list. Features: Automatic Fractions - with fractions feature engaged, arbitrary fractions are a doddle. Stylistic Sets: SS01 - an alternate look for 4 SS02 - a double stroked dollar symbol SS03- the # sign becomes a stylish numero Stylistic Alternates - for software that doesn't support stylistic sets, the above three features are grouped into the one SALT feature. Standard Ligatures - certain typed combinations automatically change to different glyphs: B|| = Bitcoin symbol P- = Russian Ruble RM = Malaysian Rimgit symbol Rp = Indonesian Rupiah Rs = Rupees Ft = Hungarian Forint kr = Kroner symbol % off;%off;%ff = Special percent off ligature Discretionary Ligatures - this feature sets decimal prices like $5.95 with the numerals after the period smaller and raised from the baseline, underlined by a nice swoosh. It also shrinks the dollar, sterling, and Euro symbols for a more authentic look. While intended for one sole purpose, Price Didone could nevertheless be quite versatile. Quote marks and typographic symbols can be used for decoration. Everybody loves a nice ampersand and this is one I'm really proud of. Or you might just want some pretty numbers for your house, or sports jersey, or just to stand out a little from the rest of your text. Whatever use you may have in mind, go for it. And do let me know if your currency symbol isn't included, and I'll quickly add it to the glyph set in future versions.

Taco is a new Mexican style font family based on our Tavern and Algerian Mesa type designs. When I finished the extra heavier weights for Tavern I decided to play around with a decorated version, the extra bold letters allowed for much more room to work with an inlay pattern. After experimenting with several designs I decided on a Mexican pattern because the original base font is very popular in Mexican restaurant logos and menus plus it's frequently used on Tequila bottle labels. I originally planned three weights for the Taco font family, however, after completing the bold weight I've decided to release it now so you may put it to use while the regular and extra bold are being produced, sorry I can't estimate a release date for the two other weights. To use the fill font layers you'll need an application that allows you to work in layers such as Adobe Creative Suite products. The Taco Fill Uno font may be used as a stand alone font, however, we recommend searching for our Tavern font family where you'll find three different bold weights of this same design. Opentype features aware applications are also needed for accessing the many alternate glyphs in Taco, all the alternates that you love in our Tavern fonts are also available in Taco. While the fill font layers are in registration with one another some applications may throw them out of alignment by changing the spacing. Custom inter letter spacing in Adobe Creative Suite may also throw the fill fonts out of alignment. We recommend doing your custom spacing first then duplicate the type layer and change to the next fill font and color. The inspiration for the Taco name of this font family was from a homemade Taco dinner I made for a guest at my house, after dinner I searched to see if there was a commercial font named Taco. There was no such font named Taco and the rest is history. The old Stephenson Blake Algerian font has come a long way since 1908, and we're not done with it yet. We hope you enjoy our Taco font family, we're looking forward to see it in use.