Koufiya is designed by Nadine Chahine in 2003 as part of her MA project at the University of Reading, UK and later released by Linotype in 2007. It is the first typeface to include a matching Arabic and Latin designed by the same designer at the same time with the intention of creating a harmonious balance between the two scripts. The Arabic part is based on the Early Kufi style popular in the 7th to 10th century AD. It is characterized by a strong horizontal baseline, horizontal stacking order, clear and open counters, and a general open feeling. Though based on the earliest styles on Arabic manuscript, the design paradoxically appears quite modern and fresh. The Latin part of Koufiya recalls a Dutch influence in its shallow top arches and rather squarish proportions. Both Arabic and Latin parts have been carefully designed to maintain the same optical size, weight, and rhythm. However, no sacrifices were made to make them appear closer to each other. They are designed so that they work well together on the printed page, and to make sure that the two scripts are harmonious when they are mixed together even if within the same paragraph. The font includes support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

ATF Headline Gothic cries out to be used in headlines, and that is exactly how it was used after it was first created by American Type Founders in 1936 with newspapers in mind. It would be hard to imagine a better typeface for a shocking, front-page headline in a scene from an old black-and-white movie. With its all-caps character set, and its big, bold, condensed design, ATF Headline Gothic is the epitome of its name. “Extra! Extra!” The style of ATF Headline Gothic recalls the bold, condensed gothic display faces of the 19th century, but with more refinement in its details than many large types of the time (typically wood type). Its most recognizable trait is the restrained, high-waisted M, with short diagonal strokes that end with their point well above the baseline; this avoids the sometimes cramped look of a bold condensed M with a deep “V” in the middle, common in many similar headline faces. The digital ATF Headline Gothic comes in a single weight, all caps, like its predecessor, but offers two styles: one crisply drawn, and a “Round” version with softer corners, to suggest a more “printed” feel, reminiscent of wood type. Of course, in either style it includes a full modern character set, including symbols such as the Euro, Ruble, and Rupee, that didn’t exist in 1936.

There are a few professions in which being left-handed confers an advantage-think of the great southpaw pitchers in major league baseball, like Sandy Koufax. Now, think of all the great left-handed calligraphers. Not so easy, right? Here's a hint: Luis Siquot. Far from being an advantage, Siquot's lefty orientation proved a hurdle to overcome. When I was young, I had serious problems writing," he recalls. "If there was a lot of text, I almost always soiled the paper with wet ink as my hand followed the pen." Then, a friend told Siquot about a special store in London that catered to left-handed people. It was there that he found an Osmiroid pen specially designed for left-handed calligraphers. ITC Cali is based on Siquot's use of this pen. "Electronic scans of my calligraphy were the foundation of the design," he says. "I was careful to leave in some imperfections to avoid an excessively mechanical look, and added the little notches in the strokes to imitate the texture of writing on a rough cotton paper." ITC Cali works equally well in text and display sizes, but it is a calligraphic script, Siquot warns, "and shouldn't be set in all capitals." That said, ITC Cali is a remarkably versatile design, well-suited to a variety of communication projects."

Introducing our newest serif typeface – Alvito Nova - a timeless, sophisticated font that embodies elegance and refinement. Crafted with care, this type family is perfect for those seeking to add a touch of class to their designs. With its classic and traditional appearance, this typeface is sure to impress and stand the test of time. Designed for professionals, this serif typeface exudes authority and gravitas, making it the perfect choice for high-end brands, legal documents, and academic publications. Its clean and precise lines give it a professional edge, while the serif elements add a touch of personality and warmth. Whether you’re designing a business card, a book cover, or a website, this font will give your project a touch of prestige and sophistication. One of the key features of Alvito Nova is its versatility. While it’s perfect for formal and traditional designs, it also has a contemporary edge that makes it ideal for modern applications. Its unique blend of classic and modern elements makes it a standout choice for any design project. Whether you’re designing for print or digital, this font family will make your work stand out from the crowd. So why settle for a bland and generic font when you can elevate your designs with Alvito Nova? Try it today and experience the difference for yourself!

Introducing Hiyida Script! Hiyida Script is modern script font, every single letters has been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project, example: weddings, invitations, greeting cards, posters, name card, quotes, blog header, branding, logo, fashion, apparel, letter, stationery, etc. Hiyida Script allows you to create custom dynamic text. you can access by turning on; Stylistic Alternates, Stylistic Set, Initial Forms, Terminal Forms as well as ligatures in Photoshop, Adobe Illustrator, Adobe InDesign or through a panel of glyphs such as Adobe Illustrator, Photoshop CC, Let's swirl from the reguler character into character alternative to get the text with the layout of your dreams. Hiyida Script features 801 glyphs and has given “Private Use Areas” PUA Encoded (specially coded fonts), with tons of alternate characters. The pack can be accessed in full by any crafter or designer, without the requirement for extra design software, Compatible With Silhouette Studio & Cricut Design Space. Files Include: - Hiyida Script Features: - Basic Latin A-Z and a-z - Numbers & Symbols - Stylistic Set & Ligatures - PUA Encode (specially coded fonts) - Latin Pro Support Character In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Thanks for your visit :-)

TT Autonomous useful links: Specimen PDF | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Autonomous: The idea was born in Amsterdam when one of our colleagues took the official electric taxi at the Schiphol airport. At the moment we were thinking about creating a new wide sans-serif, and an interesting question emerged during the trip: what font would be associated with autonomous electric transport. Then we thought it would also be nice to expand this theme visually. This is how the font family TT Autonomous came about. It is a modern brutal technological sans-serif. The basic visual characteristic of the typeface is the noticeable squareness of the characters and angular internal space. In addition, the typeface proportions tend to appear monospaced, but they are not really monospaced. The width of the characters is inspired by automobile logotype proportions, which are mostly rather wide. We could not disregard the fact that code lines in software for autonomous cars are traditionally typed using monospaced fonts and added a special monospaced subfamily to the TT Autonomous typeface. Thanks to the squareness of the characters inherited from the main family and the real monospace properties, the character forms in the subfamily turned out very specific and interesting. This is especially true for oblique monospaced fonts, which are true italics. In addition, we created a couple of outline styles which are great for use in titles and large inscriptions and perfectly match the basic family and the monospaced family. As opposed to outlines that can be created in graphic editors, in TT Autonomous Outline we worked through the narrow and questionable spots, thanks to which the font looks professionally complete and harmonious. As from the very beginning, the font was developed with tomorrow's technologies in mind, we could not miss addressing variability and creating a variable font. TT Autonomous has variable versions for both the basic and the monospaced subfamilies. TT Autonomous is a complex font family that consists of 32 fonts intended to solve a broad range of design tasks. Overall, the font family features 14 regular styles, 6 monospaced styles, 7 reversed styles, 2 outline styles and 3 variable fonts. The number of glyphs varies from 630+ in the monospaced font to 790+ in the basic styles. The basic subfamily has alternates, ligatures, old-style figures, slashed zeroes, and many other useful features. FOLLOW US: Instagram | Facebook | Website TT Autonomous language support: Acehnese, Afar, Albanian, Aleut (lat), Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Number, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Superscripts and Subscripts, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Talysh (lat), Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsakhur (Azerbaijan), Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Valencian, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh, Wolof, Xhosa, Zaza, Zulu.

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

Gessetto is an extensive chalk font family, containing script, sans, roman, figures and ornaments. One of the things most charming about chalkboard lettering is the variation; in both texture and style. Our goal was to achieve a real chalk effect using the varied typographic genres in a digital format. With flexibility and control for the designer in mind, we built a digital chalk toolkit. The script is a fusion of Italic Roman and cursive, it contains swashy alternates for each capital letters with some long and extended flair on some ascendent and descendent letters. An all caps high contrast sans is in 5 complimentary styles. The Roman is precisely proportioned and maintains elegance while being bold. There is a set of Figures and ornaments. Gessetto is perfect to grab attention on signage, print advertising and editorial applications like book covers, but suits branding applications too. The diverse styles and subtle handcrafted textures in this display type family will well serve any designer looking for the authentic chalkboard aesthetic. We recommend to combine Timberline with: Turquoise

Introducing the Buckwheat Font Collection; Each and every font within the Buckwheat Collection was carefully created to be timeless, super versatile, and effortlessly cohesive. An essential kit to come back to time and time again for any number of design projects; from clean and modern, to rough and organic. What's Inside? - Buckwheat TC Regular: A condensed heading/titling font boasting real small caps (along with numerals, currency glyphs and more to match the small caps). - Buckwheat TC Sans: A rounded sans-serif font with several stylistic alternatives for various capitals (A, B, G, H, J, K, P, and R). - Buckwheat TC Script: Tying everything together, a simple yet effective monoline script font designed to look great big or small. - Rough and Smooth Styles: All of the aforementioned fonts are available in both smooth and textured styles. The textures are consistent throughout the collection, improving the cohesion of the fonts and eliminating the need to texture them yourself. - All of the typefaces within this collection include multilingual support and a full western character glyph range.

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, such as quilting. Most of the shapes in TessieSpinners suggest a spinning motion. Most do not resemble real world objects. The TessieSpinners fonts contain shapes that can be used to construct tessellation patterns. It has two styles, an outline style and a filled or black style. The black style can be used to construct colored patterns. To see how patterns can be constructed, see the “Samples” file here. 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. Make sure the leading is the same as font size or the rows will not line up.)

CoolKids was inspired by the song “Signs of Life” by Arcade Fire. Since the lyrics talk about some cool kids we wondered what a typeface with the name cool kids would look like. We immediately knew it had to be laid back yet bold and to stand out from the crowd. After designing the bold script we decided to include a light, regular and medium weight to offer you more options for your designs. It comes with initial and final alternates, that show up automatically, to make it feel more natural and similar to handwriting. Every character was carefully drawn and connections are real smooth. This casual font-family speaks most Latin languages, both in their basic and alternate forms. CoolKids is great for creating logos, packaging, posters and much more. More important than to create a font is to use it… so now it’s up to you to create something awesome with it. Feel free to share your designs with us via email to hi@seventype.com We would love to see and share them with the world!

TA Fabricans graphic presentation at Behance TA Fabricans font is based on Film Fiction Semi Expanded font. The font also supports the Hebrew alphabet. The Display version comes only in the Latin alphabet. I tried to prepare the font carefully. I specifically searched for the Hebrew alphabet. I benefited from my Israeli colleagues. I believe that my font will be successful. Please check and if you have any additional requests or complaints, please write to me. t@taft.work TA Fabricans works great for branding, magazines, headers, logos, TV, UI, web, badge, packaging, headlines, posters, t-shirt/apparel etc. TA Fabricans offers you options to explore a whole host of applications and gives a real modern feel to any project. Family overview: 36 fonts, 9 weights (from Thin to ExtraBlack) + Condensed, Expanded, Display Latin, Hebrew Display font without Hebrew Multilingual 4 free font Localized Forms with NLD, PLK OpenType Features: Localized Forms Contextual Alternates Tabular Figures Subscript Scientific inferiors Superscript (Superiors) Numerators Case Sensitive Forms Standard and Discretionary Ligatures Stylistic Alternates Kern Ordinals

Novel Sans Pro is the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Pro being a modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Introducing “QERUNG Font” – Where Handwriting Takes Center Stage. QERUNG Font is the embodiment of handwritten artistry. With its captivating handwriting theme, this font adds an authentic touch to your creative projects, making it the perfect choice for those seeking the genuine charm of handwritten script. Whether you’re designing invitations, posters, or branding materials, QERUNG Font effortlessly captures attention and infuses your designs with the character of real handwriting. Crafted with meticulous care, QERUNG Font exudes the warmth and uniqueness of handwritten script, forging an instant connection with your audience. Its versatility knows no bounds, making it suitable for a wide range of applications, from heartfelt notes to personalized branding. QERUNG Font elevates both readability and style with its graceful strokes and fluid lines, providing a natural and appealing look to your text. It also offers support for multiple languages, ensuring it resonates with a global audience. Elevate your creative projects with the authenticity of QERUNG Font. Explore this exceptional typeface today and bring the genuine beauty of handwriting to your designs. – PUA Encoded Characters – Fully accessible without additional design software.

GarciaToons is a dingbats type family integrated by 3 styles: GarciaToons Bunny, GarciaToons Cat, and GarciaToons Mouse. GarciaToons can be defined as a type cartoon to read some text situations at a glance. It is a contemporary type tool for seasoning texts in a way that simple words are insufficient to express. GarciaToons is about funny and fresh real-life communication needs, the ones we facing anytime anywhere in our daily writing issues. Aim: To design an easy-to-understand and user-friendly symbol type code, able to combine with –or even to replace– words in a text. Idea: To develop a comic's faces dingbats series starting from the same pattern for the whole variants. The challenge was to represent different cartoon characters with minimal design changes. Designs are framed into a straight and geometric visual structure, just as logotypes themselves are. Face expressions are inspired on the worldwide understandable cartoons aesthetic. The result combines logo sharpness with cartoons flexibility. As it's said: A picture is worth more than a thousand words.

This font is an orphanage where all the beautiful details of classical grotesque typefaces from the early twentieth century are gathered, and thus living together, are forming a ‘new’, happy family. The aim was to collect my favorite characters in one font. The start was an eclectic collection orientated on British types from the Caslon Doric No. 4, the Monotype Grotesque, the Gill, the Franklin Gothic up to the Transport. In this amalgamation I avoided the narrow apertures in the ‘e’, ‘c’ and in the numerals ‘5’, ‘6’ and ‘9’ and enlarged the x-height dramatically. To the classical slanted form of the italics I added real italic forms for ‘a’, ‘e’ and ‘g’ in order to obtain a more distinguished italic style. DF-Dejavu Pro supports all Latin-based languages (Western, Central-European, Eastern-European, Baltic and Turkish) and includes small capitals, ligatures, inferior & superior numerals and letters, fractions, various numeral styles: proportional lining, tabular lining, proportional old-style, tabular old-style and last but not least a slashed zero.

The typeface “Hand Stamp Slab Serif Rough” was designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. It is a display font with a classic slab serifs based on real rubber stamp letters for a authentic, rough & dirty, stamped-by-hand appearance. It provides a vintage look through state-of-the-art Open Type features such as contextual alternates that cycle automatically through 5 different letter variants for each character to create a varied look, just as if the letters were stamped by hand. The font is intended for use in logos, magazines, posters, advertisements, and as a webfont for decorative headlines. The font works best for display sizes. There are 1031 glyphs with 5× A–Z, 0–9 & a–z and 70+ decorative extras like arrows, dingbats, symbols, geometric shapes, catchwords, and many alternative letters. A range of figure set options including oldstyle figures and additional deco­ra­tive liga­tures (type the word “love” for ❤ … ), Ver­sal Eszett (German Capital Sharp S), symbols, and emojis. Have fun with this font & use the DEMO-FONT (with a reduced glyph-set) FREE!

The fastest and easiest way to create original images. It is necessary to take any text and use it with Type Tile. Create pictures, patterns and backgrounds from real texts. Font can be used in various encodings and you can type texts in many languages. Type Tile supports Central European languages that use Latin script, (Polish, Czech, Slovak, Hungarian, Slovene, Serbian, Croatian, Romanian and Albanian), Cyrillic alphabets, Western languages, Greek, Turkish, Hebrew, Arabic, Baltic languages, Vietnamese, Thai and Japanese. You can make the background from the original text for the page on which can print the translated text. This symbiosis can create a feeling of presence in the original text. Decorate the packaging in which the text is written in the form of ornament. Several layers of the texts with Type Tile shows an incredible pictures. Use a pair of letters can give a regular pattern. Type Tile provides endless and fantastic opportunities for design on any surfaces and for different purposes in publish, fashion, textiles, industry, animation, Internet and so on.

Novel Sans Condensed Pro is the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Condensed Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Condensed Pro being a space saving, modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Condensed Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Acuta is a new all-purpose text serif with a good readability and a contemporary, robust look thanks to its low-medium contrast. The differences between thicks and thins are less strongly marked than in oldstyle text faces; yet the diagonal stress needed to facilitate reading is partly provided by the letter shape itself: sharp angles and italic construction give the right dynamism to the text. Acuta becomes very distinctive as a headline, while its big x-height makes it suitable for texts at rather small sizes too. The family consists of seven weights & correspondent italics, with a large character set. The Book and Medium weights, relatively close to each other, can both be used as “plain” weight depending on the size of the text, background color or backlighting. Small caps, oldstyle and tabular figure alternates, superiors and inferiors and ligatures are available in all styles through OpenType features. The real italics include unobtrusive swash alternates to emphasise the written feeling. Please find a specimen of Acuta (PDF) in the Gallery section.

Is it necessary to tell the Gutenberg story? 1456 Gutenberg Pro is the second Gutenberg typeface produced by GLC foundry (look at our 1456 Gutenberg). This font was created from the so called "B42" character set used for the two Gutenberg Latin Bibles (42 and 36 lines), but with a better and finer design than in our first version, more faithful to the finest original printed books appearance. We offer also now a larger choice of the original ligatures and Latin abbreviations, as complete as possible to be usable with OTF specifications. The complete basic alphabet (with "long s" naturally)is strictly looking like the real one (including the curious twisted "X"). We have only recreated the capitals W and J, who was not existing in the time. The numerals, no more existing in the original type set, were inspired from those in use a few years later by early following printers, but matching with the Gutenberg font's pattern. The font includes West (including Celtic), East, Central European, Baltic and Turkish glyphs.

Novel Sans Office Pro is the humanist grotesque typeface family optimized for office environments within the largely extended award winning Novel Collection, also containing Novel Pro, Novel Sans Pro, Novel Sans Condensed Pro, Novel Mono Pro and Novel Sans Rounded Pro. Novel Sans Office Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Office Pro being a modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Office Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Magneton is a brush script typeface that contains three weights and two slant angles. Three weights simulates the pressure of the brush pen; light is written with a gentle pressure and the bold one with more pressure. Two slant angles gives Magneton two natures; the more casual one and the more dynamic one. So with this script you have lots of options to choose from. You can adjust the look and feel just like when writing with a real brush pen! Magneton has lots of alternates and swash characters. It has two sets (and more) of upper case letters. The more basic one and the more flamboyant one. It also has lots and lots of lower case alternates: two styles of end swashes, underlines, a few different ascender and descer swashes and much more. Please explore the images and glyhp set to get the idea. I hope you like what you see and use Magneton in logos, lettering compositions, t-shirts etc. there are lots of opportunities with this one. Thank you and please enjoy!

It can be a real challenge to deliver messages through designs due to the very ordinary display fonts lacking prominent characters. Let us present you the Happy Land, a prominent display font to add firm touches to any of your designs. The letters made all in capital can enhance certain effects on your designs. The font’s simple shapes with strong contrasts affect the legibility. As a result, it is suitable to apply for big text sizes. In addition, this font provides a clipart bonus for you. Enjoy the available features available here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Happy Land fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Melodi is the result of years of working with hand made types on my designs. Every time I draw the letters and words that I need for every design piece. One day I decided to go serious and make a real type of it and “Melodi” is the result of this work. It’s a calligraphic font, built using a regular stroke, and carefully crafted to have nice joins between all the letters. It has some playful but stylish capitals that brings lot of personality to the font. It work super nice either in lowercase writing as in all-caps texts. It looks specially good on lists of words or small sentences. Melodi is a playful but very versatile font, it can be used in lots of different scenarios. From creating a logo, writing the tittles of a catalogue or use it in a poster combined with other types (it work really well as counter point of more classical types) to motion graphics animations or advertising work. It can be cute but it also can do hard work!

A tessellation is a shape that can be used to completely fill the plane without gaps or overlaps—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. TessieSomeMore has two family members, a solid style that must have different colors to be useful 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. Most of the shapes in TessieSomeMore are Escher-like. Over half are either bug-like and bird-like shapes. There are also a few animal and other object shapes as well as some geometric or abstract shapes that have visual appeal.

Introducing Russell - An organic and expressive handwritten brush script font designed for versatility. It's legible; making it perfect for product packaging, editorial work, and poster design, and it oozes personality; great for branding, invitations, and more. This font packs a real punch with super duper textures and a ton of useful extras (that line is certainly getting copyrighted!) including custom catchwords, ink splatters, underlining brush strokes, and italics! Take a look below to see everything that's included. ---------------------- What's Inside? ---------------------- - Russell: The original Russell script font boasting a full glyph range with multilingual support. - Russell Alternative: An entirely new font with slightly different lowercase and uppercase letters - perfect for improving the handwritten aesthetic. - Russell Extras: A font full of useful extras (Swashes, strokes, and splatters) that look great with the Russell fonts. Simply select the 'Russell Extras' font and start typing. - Russell Catchwords: Just like the extras above, this font is packed with 23 bonus custom catchwords that beautifully complement the family. - Russell & Russell Alternative Italic: Both Russell and Russell Alternative have italic options included, opening up more design possibilities.

Following the huge success of Legendary, Manuel Corradine proudly introduces his new ornamented script font. He remarks: “Designing Plebeya was a very tough and exhausting process, but learning to use it correctly and harnessing its whole potential is equally a job demanding great skill and dedication”. Plebeya is a font with an elegant and decorative style. Its calligraphic strokes are full of minute imperfections evoking real hand writing and provide it with a rustic and natural touch. Because of this we advise to preferably use it in the smaller sizes and only in larger ones when consciously you want to highlight its rustic characteristics. Plebeya is ideal for logos and short texts design, but can also be very useful in a wide variety of applications like wedding invitations, magazines, restaurant menus, advertisement and in any project requiring a touch of elegance and exclusivity. Its wide set of alternative ornated characters make Plebeya Pro an excellent tool for both the professional designer as well as any enthusiast wishing to elaborate a project with unique style.

In the world of graphic design, the selection of a typeface can often make or break a design. A font can evoke a range of emotions and set the tone for the entire piece. The Octin Stencil typeface is no exception. This font boasts a brawny and robust design, making it the perfect choice for designs that demand strength and resilience. With 7 weights to choose from, including light, book, regular, semi-bold, heavy, and black, the Octin Stencil typeface provides designers with an impressive range of options. Whether your design needs to convey a sense of authority or exude a no-nonsense attitude, Octin Stencil has you covered. This typeface is particularly well-suited for designs that require a tough, no-frills approach. Police, sports, prison, construction, school, or military themes can all benefit from the bold and commanding presence of Octin Stencil. Its stencil style and sturdy construction give the letters a sense of fortitude that is sure to grab attention and command respect. In summary, if you are looking for a typeface that exudes power and strength, Octin Stencil is the clear choice. Its burly and powerful design will make your message stand out and leave a lasting impression on your audience. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Prison, Octin Vintage & Octin Spraypaint. 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.

JT Collect is a hybrid sans-serif typeface for the 21st century that takes a playful approach to the type design heritages of Germany and Switzerland. Confidently built on a geometric structure and infused with elements from traditional grotesque typefaces, it hits the sweet spot between geo and grot. I developed JT Collect purely digitally, drawing from years of experience with analog type design. The letters aren’t based on one particular source but seek to merge different type genres from the first half of the 20th century and lift them to a contemporary quality level. JT Collect is less reserved than strictly geometric designs and brings some industrial workmanship and honesty into the game. The six weights plus three optical sizes of JT Collect offer what you need to make an impact. While cool and elegant in the Light weight, the fonts show more presence on the page as they grow bolder. To this end, I drew the letterforms with a slightly unrefined, brawny air in the bolder weights. This sets them apart from the perceived purity of more geometric designs. The Book weight is ideal for short texts and medium-length copy, and the forceful Bold makes wordmarks look crisp and lets headlines radiate cosmopolitan self-confidence. JT Collect is suitable as a primary typeface for branding, advertising, packaging, stationery, posters, documents, and websites from trades and industries as diverse as food & fashion, media & makers, culture & creators, games & gems, sports & startups. Use JT Collect for film titles or watch faces, for leaflets or store signs, for business cards or billboards: this font family is as adaptable as a chameleon (and like a chameleon, it’s never boring). Try it in different contexts. You won’t be disappointed. Its adaptability also makes JT Collect a great starting point for poised and persuasive font combinations. Even a sans/sans pairing is possible due to hybrid nature of JT Collect—something that’d be hard to achieve with most other sans-serif typefaces on the market. You can add to it a heavy slab from the OGJ library, like Temper Wide. You might go for a geometric or a grotesque typeface as secondary (text) typeface. Or you could set your body copy in a classic serif typeface such as Caslon, Sabon, or Plantin. That’s right: JT Collect is a true team player. Whether you need a grotesque or a geometric sans: try JT Collect. You can get the best of both worlds.

Introducing Deception—the sub-pixel typeface that’s about to blow your mind! With ten captivating effects, this font is a must-have for anyone looking to create unique and eye-catching designs. Deception Array is the perfect choice for modern architectural themes, with wide blocks reminiscent of a digital VU meter. Deception Bars gives your text a mesmerizing look, like it’s being viewed through lenticular glass. Deception Blocks approximates the heavy JPEG degradation and pixel sharpening glitch effects that are all the rage right now. Looking for something flashy and prestigious? Try Deception Diamonds with a glow effect. Deception Lines can produce a grayscale effect or banding depending on resolution and rendering type, so keep experimenting to see what works best for you. Deception Particles echoes the look of impact printers or laser-etched sell-by dates, giving your text a vintage feel. Deception Plusses radiates positivity with its energetic design. Deception Process simulates grayscale LCD text or a thermal printer on the fritz, perfect for creating a unique and edgy look. Deception Scanline duplicates the appearance of television picture tube text rendering, ideal for recreating a videogame or retro computing vibe. And if you’re feeling daring, Deception System smacks of 1-bit dithering gone completely haywire! Each style of Deception is available in Regular and Bold, with OpenType fractions, numeric ordinals, and plenty of currency symbols included. So what are you waiting for? Try out Deception today and take your designs to the next level! 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.

In comparison to the powerful and commanding original, Sancoale Gothic is a more sober version of Sancoale. The medium contrast between thick and thin strokes makes for a typeface that stands out with striking clarity in longer texts, yet is very readable. This new addition to the Sancoale family is a perfect alternative if you want to use a different style than the original family. Using the utmost care and restraint, the designer strove to avoid overbearing futurism in favor of a typeface with clean lines and clear forms. Show your customers the world with Sancoale Gothic, a versatile sans with a wide range of styles, from delicate thins to bold, hefty weights that dominate the page and screen with confidence and futuristic flair. A fresh, friendly voice for all kinds of uses, from corporate statements to fashion, Sancoale Gothic is a versatile sans with a wide range of styles, from delicate thins to bold, hefty weights that dominate the page and screen with confidence and futuristic flair. Sancoale Gothic has a distinct personality, which allows you to create a wide range of projects, including posters and websites. The Sancoale Gothic fonts come in many varieties, so you can go with a light or thick weight, depending on what fits your project best. With their sweeping curves, the heavy fonts are meant for huge headings on posters and websites. The Sancoale Gothic family is made up of 48 distinct styles, with 660 glyphs and supports 70 languages, allowing you to communicate with your customers all over the world. Small Capitals and other OpenType features abound! The design is sleek with no stems or spurs in the default character set, but OpenType alternates have alternates with stems. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. The superfamily offers an array of optical sizes, contrasting weights, and contrasting optical sizes to discover the right balance, contrast, and optical size for your design. Prepare to be blown away by Sancoale Gothic’s smooth curves and captivating allure. Sancoale Gothic is perfect for both a contemporary and forward looking style. Sancoale Gothic is both practical and unique, in a standalone capacity or with the companion Sancoale fonts. Use it to make an impact today.

Welcome to the winter wonderland of typography, where the letters are as crisp and chilly as the winter breeze! Introducing Snowa, the perfect typeface for your holiday projects. Whether you’re designing a greeting card, creating an advertisement for a winter resort, or simply adding some frosty flair to your designs, Snowa is the perfect choice. With its snow-capped letterforms, Snowa captures the essence of the winter season. The elegant curves of each letter are topped with a layer of shimmering snow, making your text stand out like a snowflake in a blizzard. It’s perfect for creating a festive and inviting atmosphere for your audience. But that’s not all—Snowa comes with a snowless version as well as independent layers for constructing your own layered snow effects. You can customize your designs to suit your needs and create the perfect snowy effect. Whether you want a light dusting of snow or a heavy blizzard, Snowa has you covered. So don’t let your designs be as dull as a snowless winter day. Add some winter magic with Snowa. Let the snowy letters create a wonderland of typography, and let your imagination take you to a winter wonderland of your own. With Snowa, your designs will be as cool as ice and as dazzling as freshly fallen snow. Happy Holidays! 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.

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

Aire is what Sproviero would call a < big display family >. We recommend seeing its user’s guide. After his success with Reina, Sproviero comes out with this big family of 7 members: Each of them loaded with lots of sophisticated ligatures, alternates and the entire cyrillic alphabet. The overall impression that the font gives is lightness and delicateness; that’s the reason the designer chose to call it Aire, or Air, in English. "Aire was somehow having a rest from my fat face Reina [...] It started as a really thin style of Reina, but it rapidly migrated from it and grew up alone. And how it grew..." The inspiration came from his own past creations: “The heavy strokes of Reina were shouting for a more delicate thing. Something more feminine. More fragile. Something which had a lot of elegance and fresh air inside”. Aire responds to this: Sproviero found that many of the typefaces of nowadays which are used for headlines (best known as display fonts) have almost always just one, maybe two weight styles. This was his opportunity to try something new. Aire makes it easier for the user to generate different levels/layers of communication thanks to its variety of styles. With this font you can solve entire decorative pieces of design with just one font, and that was the aim of it. Aire was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. On March of 2012, Aire was chosen to be part of the most important exhibition of typography in Latinoamerica: Tipos Latinos 2012. TECHNICAL Aire is a family with many members. In total, the user can choose between almost 6,000 (!) glyphs (1,000 per style). Each member has variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Every decorative glyph has its weight adjusted to the style it belongs to. Exclusively for decoration, Aire Fleurons Pro is an open-type programmed set of ornaments. And last but not least, remember Aire is delicate. What’s my point? It is not recommended to activate all the alternates at the same time. It is typo-scientifically proved: A maximum of 3 or 4 alternates per word would be more than enough.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Introducing Meloriac, the unicase display typeface that combines a pseudo-retro feel with a minimalist design, creating a strong and modern-looking font that has become a reliable staple in the toolbox of today’s graphic designer. Inspired by the classic Futura Extra Bold and Avant Garde Gothic Bold, Meloriac is an extra-heavy tribute that is perfect for tight headlines and logos. Its minimalist design and strong strokes make it stand out and demand attention. The font is versatile, able to convey a variety of messages while maintaining its bold and modern aesthetic. Meloriac is more than just a pretty face; it’s also highly functional. For improved clarity, we recommend tracking it wider (adding more space) on subheadings. The result is a cleaner, more legible display that will make your message pop. Additionally, the font’s OpenType stylistic alternates feature allows access to filled letter variations and an alternative ampersand, giving you even more creative control over your designs. Whether you’re designing a poster, a book cover, or a website, Meloriac’s minimalist design and bold aesthetic make it the perfect font to convey your message with impact. Try it out today and see for yourself why it’s a favorite among today’s graphic designers. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.