Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!

Laca Pro now supports Greek and Cyrillic scripts. The letter shapes capture the playful spirit of Laca. The added language support brings even more usefulness for the use of Laca for branding, editorial and other projects. Communication is one of our passions, by supporting other scripts we want to create better communication.

According to the Dictionary of the Spanish Royal Academy, «canturía» is the exercise of singing, and a way of singing musical compositions. Canturiana Type (derived from «canturía») has a romantic and musical air, as well as a clear sensuality thanks to its sinuous construction. The curves seduce us, conquer us, hypnotize us and the letters acquire a resounding lightness, and a very earthly presence that is complemented by a certain aerial, spiritual expressiveness. Canturiana Type is inspired by Canterbury, a font designed in the 1920s by the legendary American type designer and engineer Morris Fuller Benton and published by the American Type Founders (ATF). Canturiana Type collects all this heritage and transforms it into a digital typeface perfectly functional and adapted to the visual communication of the 21st century. Its elegant art deco essence provides it with a unique and heterodox imprint that works in very different media, giving them distinction and depth. The creative process of Canturiana Type has gone through various mutations to a point where each episode of its creation has left its mark, a multiple imprint that makes it unique, singular in its essence and plural in its possibilities. For this reason, Canturiana Type expresses itself with several voices without any variation in its essence. A conceptual ambiguity that makes it truly versatile. Canturiana Type is a typographic choir, a complex entity that has infinite nuances and tones. Classic and cool. Disruptive and romantic. Literary and musical. Canturiana Type is composed of 5 weights, and has a large number of swashes, alternate characters, ligatures and various visual elements to make compositions as titles or for use in short texts. Canturiana Type has more than a thousand glyphs and offers a wide range of languages that use the Latin alphabet.

Ready for the designs of today, the Sancoale superfamily takes a softer turn with a rounded slab serif. Crafted from Sancoale’s simple geometry, new softened slab serifs provide a lively typeface that conveniently enhances its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Slab; and, certainly, the first Sancoale. The weights of each and every member are balanced diligently to be compatible with one another. When used alongside one another, the combination makes for robust and tight design. With weights starting with the slender thin ranging to the juicy black, Slab Soft opens the doorway to the vary of uses. Its design is legible and neutral enough for bodies of copy--both in print and on your website. The web font also stands out perfectly as a headline or a display face. Slab Soft carefully places a foot ahead, and doesn't overpower like many slabs. This font’s the choice to seize the day and get the job done. All insigne™ fonts are absolutely loaded with OpenType options. Sancoale Slab is geared up for pro typography, together with alternates with stems, compact caps and lots of alts, together with “normalized” capitals and lowercase letters. The font features many numeral sets, with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Bundled are compact caps, fractions, old-style and lining quantities, scientific superior/inferior figures, entire ordinal and inferior alphabet. The Sancoale superfamily also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Sancoale Slab supports around forty languages that utilize the Latin script, earning Sancoale the pick for for multi-lingual publications and packaging.

Quam is a contemporary sans serif typeface, designed to be used as either a display or text font. With a range of alternates, true small capitals and variable numerals, this design aims to be versatile and functional. An added function is the inclusion of the full Cyrillic encoding to allow the application of a wide range of scripts.

Rosamund Cyrillic Script Font is an inky brush script with heavy downstrokes, and skinny loops, and upstrokes. It was made with my favorite brush pen and retains a playful handwritten look for all your designs and will be perfect for use in your projects, be it logos, signatures, labels, packaging design, or blog headlines. Also, it will look great in mugs, cards, gorgeous typographic designs, stationery, and much more. Rosamund Cyrillic Script contains a full set of uppercase letters and 2 full sets of lowercase letters, (standard and alternative), and 17 ligatures. Use alternate lowercase and double-letter ligatures to create a perfect hand-painted look in your creations. The Cyrillic part of the font includes a full set of gorgeous uppercase and lowercase letters, ligatures, numerals, a large range of punctuation. Rosamund Symbols is a font with over 50 unique, hand-drawn doodles and illustrations that can help to make your design awesome. A different symbol is assigned to every uppercase and lowercase standard character so you do not need graphics software just simply type the letter you need. Multilingual Support for 32 languages: Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended. Thanks!

PF Stamps covers a wide range of applications which require the stamp effect. This is a form of lettering which was very popular in the mid-twentieth century for product labeling. Special machinery was developed by mainly two companies, one in the United States and the other in Germany. This machinery produced paper die cuts which were later used as a base for the marking with a paintbrush. PF Stamps Paint was developed to simulate this type of lettering. Two other styles, Metal and Flex, have been very popular since its original release. The first one was developed from a metallic stamp imprint, whereas the second one with its slight 3-D look simulates letters stamped on plastic. To insure realistic results, uppercase letters are different from lowercase. This is very useful when two similar letters sit next to each other. There 3 more styles: Solid (the stencil in its regular clean form), Rough and the very interesting Blur. The all new “Pro” version comes to complete this series with what was missing: 93 matching frames and frames parts which will satisfy the most demanding designer. This is a bonus font which is available only with the purchase of the whole family. Use these frames “as is” at any size, or connect the frame parts to each other to create longer frames. Finally, this series supports more than hundred languages which are based on the Latin, Greek or Cyrillic scripts.

Daenerys is a thin, elegant signature font that is perfect for a wide range of design projects. It has a delicate, calligraphic style with smooth, flowing lines that give it a sense of grace and beauty. The letters have a slight slant, which gives them a hand-written feel, making it suitable for invitations, wedding stationery, and other special occasions. One of the most striking features of this font is the abundance of swashes. These are decorative flourishes that extend from the letters, adding a unique and ornate touch to your designs. The swashes come in a variety of shapes and sizes, and they can be used to add emphasis to specific letters or words. This makes the font perfect for creating elegant, eye-catching titles and headlines. The lowercase letters have a unique and modern touch, The uppercase letters are more formal and elegant, making them great for headlines and titles. Daenerys is a versatile font, it's perfect for branding, packaging, and web design. The thin lines make it easy to read in small sizes and it's also great for overlaying on top of other design elements. Overall, Daenerys is a beautiful and sophisticated font that can add a touch of elegance to any design project. Daenerys features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +274 Total Glyphs +40 Signature Swashes

Firing Imaginations and lively connected script family of three weights, ornament and banner sets and separate caps and small caps designed to support the script. Frost is influenced by the hand lettering and sign painting of the 1950s and 1960s with more polished appearance to better suit contemporary design trends. Frost is equipped with loads of automatic ligatures to make the text better flowing and has minimum three alternatives to every basic letter: To activate the alternates click on Swash, Stylistic or Titling Alternates in any OpenType Savvy program or manually choose from even more alternate characters from the Glyph Palette. Frost is an effective and easy to use font family for creating ambitious headlines, logos & posters with a custom-made feeling. For the absolutely best price purchase the complete family!

Released by Intertype in the 1930’s, Vogue was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks such as its distinctive G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue the versatility to be a true workhorse.

Released by Intertype in the 1930’s, Vogue, was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks like its distinct G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue Soft brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue Soft the versatility to be a true workhorse.

Sacred Bridge is an old fashioned display typeface, inspired by vintage signage combined with ornaments that were inspired by certain Indonesian tribe ornament feels, because our little type foundry is focused on vintage display fonts. Till now at least. Sacred Bridges offers a layered system, with regular, rough and slant versions from each style. And don't forget about the Extras (ornaments) we offer. You'll get separate ornaments and objects that you can mix and match. We also give you most of our ornaments seen in our display.

Erik Spiekermann, working in collaboration with Ole Schäfer, originally designed FF Info® Display for use in the context of wayfinding systems. The variants FF Info™ Text and FF Info™ Correspondence were developed later for text setting and office communication. FF Info Display The sober and clear forms of the sans serif FF Info Display have been deliberately molded to make them perfect for use on wayfinding systems. The font by Ole Schäfer and Erik Spiekermann not only takes the problem of lack of space into account - it is some 15% narrower than comparable typefaces - the characters have also been designed to ensure they remain legible even in adverse conditions for reading. As text on signs often contains words with which readers are unfamiliar and which are thus deciphered letter for letter rather than perceived as whole words, it is essential to provide for a clear differentiation between glyphs. Additional serifs on the lowercase "i" and uppercase "I" and a small arch on the terminal of the lowercase "l" ensure that it is possible to readily discriminate between these particularly problematic letters. Moreover, sharp corners on glyphs can also make it difficult to read signs with backlighting or when driving past. The rounded corners of FF Info Display counteract this effect and make sure that the character forms remain well defined.FF Info Display is available in five carefully coordinated weights, from Regular to Bold. In the corresponding italic variants, the letters appear overall more rounded while the lowercase "a" has a closed form and the "f" has a descender. Also included among the glyphs of FF Info Display are several ligatures and arrow symbols. Pictograms with different themes that complement the typeface are also available in four weights. FF Info Text Thanks to his know-how gained through designing other typefaces, Erik Spiekermann became aware that fonts created for use in problematic environments can be used in many different situations. In smaller point sizes, FF Info Display cuts a fine figure when used to set longer texts. So Spiekermann carefully reworked FF Info Display to produce FF Info Text, a font perfected for use in this context. Not only can the characters be more generously proportioned, certain features, such as additional serifs to aid with the differentiation of problematic letters, are also no longer necessary in textual surroundings. The upright styles have a double-story "g" while Spiekermann has added oldstyle figures and small caps. FF Info Correspondence FF Info Correspondence has also been designed for setting block text although it recalls the style of old typewriter characters and is specifically intended for use in office communication. The characters of this third member of the family are thus more formal, without rounded terminals but with rectangular punctuation marks. The narrower letters are provided with large serifs to give them more space although, at the same time, this reduces the differences in terms of letter width among the alphabet. In contrast with its two siblings, FF Info Correspondence has only three weights, each with corresponding italic.The three styles of the FF Info super family cover an extensive range of potential applications. If the different kerning is adjusted manually, the three styles harmonize happily with each other and can be readily used in combination to set, for example, headlines and texts and also creative display options.

Fragua Pro is a family of 14 fonts (Latin Extended-A and the Cyrillic alphabet) Condensed Sans Serif of geometric construction inspired by the Russian constructivism of the mid-20th century; the typography has a rounded finish in all corners to avoid the coldness of the rectilinear fonts and providing warmth and docility, the ascending and descending short and a high height of the x make it very compact, all this results in a unique typeface with maximum readability due to the careful configuration of metrics and Kerning. The cursive styles have an inclination of 8 degrees and a narrower proportion than the regular ones, they also have their own letters and meticulous optical corrections to compensate for the deformations produced by the inclination. Fragua Sans has Advanced Open Type functions, several alternative letters, full support for numbers, monetary symbols and crypto currencies and more. 681 glyphs. This typography is specially designed for advertising and editorial composition, behaving correctly in both short and medium texts and headlines where horizontal space saving is needed, being an ideal typographic system for signage, editorial or corporate design. This typography is dedicated to the memory of my grandfather C·ndido (Pa), the blacksmith of my town. THE COMPLETE 14 FONTS PACKAGE INCLUDES THE REGULAR VERSION IN "VARIABLE FONT" FORMAT, compatible with Adobe CC 2018.

The "Tichy" typeface is intended for use in titles, headlines and in short text blocks, like citates. However, the typeface is legible even in larger text blocks. It's strong appeal allows the typeface's usage mixed with other graphic elements of the layout without compromising it's readability and it's presence. The typeface's simple initial module (double braked at 135 degrees straight line), the strict rules of forming the letters lead to an unique typeface - masculine, strong and still legible. The Cyrillic glyphs are influenced by the work of the great Bulgarian typographers Boris Angelushev, Vassil Yonchev and Alexander Poplilov, who developed Cyrillic further in 60-s and 70-s of the XX century. Western, East European, Cyrillic, Baltic and Turkish codepages are supported. The font file contains all the basic ligatures, alternate glyphs and kern pairs. It can be used both on Windows and MacOS based computers. The history of "Tichy" typeface began many years ago with a project for logotype design for a small company. It was a kind of designer's game to try making some letters just using one single module. Development of the other glyphs of the latin alphabet was for many years a mandatory exercise for the young colleagues in our studio. Suddenly we realized that this project matured and creation of a new typeface started.

Axiforma was designed with the single idea of creating a font that starts with the letter A, because let's face it, this is the best letter. For those of you who didn't see it coming, Axiforma is a /drum roll/ geometric sans in 20 weights. If you are thinking "Oh boy, another geometric sans", you clearly know your stuff. Yet, Axiforma is different in at least three crucial ways: 1) It's made by me 2) It's not free 3) It's polite and humble Additionally, Axiforma is packed with Opentype such as oldstyle numbers, fractions, case sensitive alternates, localized forms, stylistic sets, cyrillic alphabets (Bulgarian & Russian) and many more. Basically it's quite extensive and kinda great. Upon using Axiforma, clients will start to behave differently around you and may even start paying you. Your spouse will start working out again just to gain your attention and your kid will become instantly popular at school. After all you are using Axiforma and rumors do spread quickly. That's what we are talking about - raw font power. With Axiforma regular typed text is suddently transformed into first class design. That includes branding, posters, headlines, display, presentation materials, websites, logotypes, etc. The world will now be your playground. To sum it up, Axiforma is badass, thus you should have it and use it everywhere.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Way back in the 1990s, the fatter the fast food generation got, the more condensed letters became. I figured when the taste in fonts started to mirror the contemporary bodily norm, Hunky Chunk should be there. Here it is.

Hail to the king baby! Inspired by the greatest comics artist of all time, these fonts will have you lettering pages like a New God! Both feature a seamless center squiggle and the deluxe font feature awesome Kirby crackle!

Yngreena is a serifed typeface with calligraphic origins. In updating it in 2011, I began to add alternative letters and reached the point where it made sense to create an alternative family of faces rather than include all the alternatives as part of an OpenType font. The letters K, R, V, W, Y, f, g, k, t, v, and w are tamer in Yngreena Alt. As a result, though it is still a decorative text face, Yngreena Alt is better suited for lengthier blocks of text than is the original Yngreena face.

Belinsky is a monospace sans serif typeface inspired by early 20th century geometric sans serifs, architectural letterings, and retro video games to some extent. Its exaggerated proportions and sharp details appear less harsh thanks to the corner rounding. It is comprised of a standard and text families, and the latter is especially suited for small text and programming, with wider spacing and more centralised gravity of certain letters like E. It still gives your codes a lot of personality. The typeface name is a reference to the designer�s favourite animated film, American Pop.

Belinsky is a monospace sans serif typeface inspired by early 20th century geometric sans serifs, architectural letterings, and retro video games to some extent. Its exaggerated proportions and sharp details appear less harsh thanks to the corner rounding. It is comprised of a standard and text families, and the latter is especially suited for small text and programming, with wider spacing and more centralised gravity of certain letters like E. It still gives your codes a lot of personality. The typeface name is a reference to the designer�s favourite animated film, American Pop.

This font was inspired by the well-known philosopher René Descartes' hand writing. In 1634, from Amsterdam, he wrote a famous letter to his friend Mersenne, a great scientist monk, in which he spoke about Gallileus works. The greatest part of our glyphs is based on this document. We have added some letters Descartes himself didn't use, like modern s and j (he used exclusively s long and i instead of j). A lot of ligatures and alternates are enriching the font, giving a better appearance of real handwriting.

Bratterly is a beautiful handwritten font containing upper & lowercase characters, numerals and a large range of punctuation.

Hello Designers! Are you ready to make your Designs rock the world? If so, we know the right solution. Now comes the Easy Headline font ready to use for your best projects. Easy Headline is equipped with Uppercase Letters, Lowercase Letters made with unique and cool shapes, Numbers, and Multilingual Support. This font is made for any professional branding project, Great for creating titles, Movie titles, Event titles, Social media titles, Book cover titles, Poster titles, branding, posters, Each letter has a unique and beautiful touch. You can see the sample preview above for comparison, stay the center of attention and classy!

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

Balune Family Font created by Authen Type. This font features a classic and elegant style, perfect for: Balune Family Font designs are very beautiful to use in branding designs for brochures, logos, and invitations with a neat and varied font concept. Script font features a gorgeous handwritten style that infuses this beautiful script with authenticity and charm! Standard glyphs uppercase and lowercase letters Numerals, a large range of punctuation and ligatures. Lowercase letters include ending swashes. Works on PC & Mac. Simple installations, accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ Image used: All photographs/pictures/logo/vectors used in the preview are not included, they are intended for illustration purposes only. Thank you for your purchase! Hope you enjoy our font! Designers: Ekayasa.

Larisch is a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift (Examples of Artistic Writing). Larisch is an attractive, casual set of caps of even strokes with rounded terminals. Except for the terminals, it is similar in style to Kunstler Grotesk. The numerals are lining or ranging figures, meaning they line up with the baseline, unlike old-style text figures. All are of equal width for setting up columns of numbers. The letters are well formed and easy to read, as you would expect from a writing master. Ligatures includes CH (123), CK (125), FT (135), LA (137), LO (167), OO (172), CO (177) and TT (181. An alternative O with underscore is provided at position 111. Friendly, but not fancy -- a very useful all-cap font.

My wife name is Yasemin. After building this typeface, I wanted to honor with my wife’s name. I think I fully reflects the character I created in my mind. I created ornaments and connected glyphs. Yasemin is an OpenType font that contains 1045 glyphs. Ligatures, alternates, starting, endings, a wide range of latin languages and a set of ornaments. And words specially designed to use in advertising slogan, stationery for weddings, birthdays, etc. TIPS: Try using Yasemin at a 20º angle so that the slanted strokes, ornament become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL: It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words. UPDATES: - 3 December 2015 Opentype Feature (fractions) update. - 20 March 2019 Opentype Feature (fractions) update. Some bug fixes.

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press. Some of Karmina's most representative features are the rather large serifs, intended to work perfectly in small reproduction sizes, the sharpness of the shapes, including some calligraphic reminiscences, and the large and yet graceful ink traps in the acute connections. Structurally, Karmina combines a significantly large x-height with relatively compressed letterforms. The result of these features grants Karmina outstanding legibility and economy. Karmina features four weights and 800 characters per weight, including small caps, discretionary ligatures, fractions and a complete range of numerals for every use. It also supports over 40 languages that use the latin extended alphabet. Karmina was selected in the text typography category at the Letras Latinas exhibition 2006 and won a merit in the European-wide ED-Awards competition 2007. Karmina Basic is a reduced version of Karmina. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

Vesta™ was originally designed as an orientation and information system for the city of Rome, the birthplace of the roman alphabet. The forms are inspired by letterforms found on a frieze in the Vesta temple in Tivoli. Vesta has more contrast than the average sans serif but, like many of other designs of Gerard Unger, let in a lot of light - the letterforms are open, the counters generous. Relatively narrow and hence economical - without feeling too compressed - Vesta is an ideal solution for newspapers and magazines, and numerous other applications, including corporate identity and more. Big Vesta was intended as Vesta's display partner. However, it also performs very well at small sizes - its large x-height and short ascenders and descenders make it particularly economical, making it ideal when space is limited; for example on a mobile display. Vesta and Big Vesta are now available in seven weights - from Light to Black - and include everything necessary for setting extended texts well: italics, small caps, and a range of figures, including old style, lining, and tabular figures. All in addition, Vesta is available as a family of OpenType fonts with a very large Pro character set and supports most Central European and many Eastern European languages.

The font family Univers is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas’sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989.

Austral Slab is a hand-drawn layered font designed by Antipixel, with unique textures & styles that combine giving your work a distinctive impression. This font comes in three weights, Regular, Light & Thin, with irregular outlines and uneven/crooked strokes, giving your work more personality and making it exclusive and powerful. For this same reason it can be used in a vast variety of projects, such as logos & branding, stationery, book covers, magazine design, clothing prints & tags, packaging, animated videos, and many more! Austral Slab has three sets of alphabets in uppercase and lowercase to avoid repeating the same character pattern, and giving the font a more natural handwritten feel. This is included in the Open-Type Contextual Alternates, which applies an automatic substitution of glyphs as long as the Open-Type features are activated. Also, Austral Slab offers other Open-Type features such as Stylistic Alternates, Ligatures, Discretionary Ligatures, Fractions, Superscript, Subscript, Denominator, Numerator, Scientific Inferiors & Kerning. This font has a very large glyph coverage and can be used in a wide range of languages, including English, Spanish, Italian, French, German, Polish, Czech, Vietnamese, Finnish, Icelandic, among many others. The style Maplines Thin is offered Free for commercial & personal use!

Mayonez is a typeface with rational structure and axis but softened with rounded contours and cupped serifs, getting as result a balance between seriousness and friendliness. The shapes have a soft appearance but without lacking definition. A more fluid structure influenced by calligraphy is proposed for the italic variants, in this case the uppercase letters adopted a simplified semiserif structure that works better with the lowercase letters. Also the figures are very different from the roman version and follow more faithfully the italic style. In an attempt to give Cyrillic lowercase romans a fresh look, symmetrical serifs inherited from the versal tendency are mostly avoided thus getting simpler structures closer to the latin forms. This type is good for commercial and editorial uses like advertising, packaging and pages with showy headlines where a warm touch wants to be given. The character set includes a group of figures and currency symbols with standard height and another suited to match better with lowercase letters. Mayonez was selected to be part of the Communication Arts Typography annual in 2015.

Oval Monogram is a perfect oval shaped monogram font consisting of 78 letters. With just a single font file you will be able to create beautiful monograms in just a matter of minutes after the purchase! Oval Monogram Font comes with font file in OTF format. It features all the modern advanced font features such as Contextual Alternates, effectively eliminating the need to use multiple separate font files for left, center and right letters.

Jungle Monogram Font is a perfect circle shaped monogram font consisting of 78 letters. With just a single font file you will be able to create beautiful monograms in just a matter of minutes after the purchase! Jungle Monogram Font comes with font file in OTF format. It features all the modern advanced font features such as Contextual Alternates, effectively eliminating the need to use multiple separate font files for left, center and right letters.

Welcome to the world of Scradl - where fonts become the tool of the cutter and the artist at the same time. These letters, as if cut out of paper without preliminary drawings, are rough, angular and full of character. The main font is the canvas for your creativity. Additional variations add a stroke, shadow, or even a sticker effect, creating a harmonious visual interaction. Features: - Multilingual - Kerning - Ability to adapt letters to other languages