Introducing Doradani, a modern sans-serif typeface that draws inspiration from the timeless classic, Franklin Gothic by Morris Fuller Benton, originally designed in 1903. At the heart of Doradani’s design is a perfect balance between Benton’s iconic proportions and contemporary open aperture shapes, resulting in a truly unique and distinctive typeface that is both traditional and current at the same time. With five distinct weights and accompanying italics, Doradani offers unparalleled versatility for any project, whether it’s for headlines, body text, or anything in between. Each weight is carefully crafted to maintain the integrity of the design, making it the perfect choice for designers and typographers who demand the highest quality. From sleek and sophisticated to bold and impactful, Doradani has the ability to elevate any design project. Whether you’re creating a logo, a magazine spread, or a website, this stunning typeface is sure to make a lasting impression. So why settle for a basic typeface when you can choose the one that combines the best of both worlds? Try Doradani 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.

Introducing Xenara—a typeface born from the mechanical precision of vintage calculators and electric typewriters of the 1970s. Designed with technical applications in mind, Xenara features stolid letterforms and rounded ends that communicate a cold, businesslike style with scientific precision. Xenara’s unique design elements include an alternate barless “A”, trident “M”, zigzag “E”, and square “S”, which are available when you use the OpenType alternates feature. These details add a level of technical sophistication to your work that is unmatched by other typefaces. Available in both Regular and Bold weights, Xenara is the perfect choice for projects that require a technical look and feel. Whether you’re creating data-heavy reports, technical manuals, or scientific publications, Xenara will ensure your message is delivered with the utmost precision. Choose Xenara for a typeface that speaks to the essence of science and technology with a timeless design that will endure for years to come. 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.

Special Forces is the commanding slab serif headline typeface that will put some backbone into your message. Its efficient and rugged letterforms will give your words the strength they need to succeed in any mission. With its robust slab serifs, this typeface means business. You won’t find any fancy curves or delicate strokes here—this font is built to withstand the toughest of conditions. Special Forces is ready to take on any challenge, just like our brave soldiers in the field. But this font isn’t just tough—it also commands authority. When you use Special Forces, your message will have the power of a commanding officer. Whether you’re calling your troops to action or announcing a new campaign, this typeface will give your words the weight they deserve. And the best part? Special Forces comes in both regular and oblique styles, so you can choose the right level of intensity for your message. So don’t settle for a weak font that won’t get the job done. Choose Special Forces and take your design to the front lines. 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.

Introducing Movatif, the typeface that effortlessly combines the best of 20th Century sans-serif typefaces into one irresistible mash-up. With seven different weights to choose from, this font has the versatility to make any design stand out. But Movatif isn’t just any ordinary font—it’s packed with OpenType features that will leave your audience in awe. By simply pairing certain letters together, you can create a captivating visual effect that will absolutely freak folks out. Take the letters M and A, for example—they snap together in a way that is both cool and slightly fascinating. But what really sets Movatif apart is the way familiar pieces interact in unexpected ways. With every letter, your design takes on a personalized style that captures the dreary 1970s malaise in a fashionable way. So if you want to create something truly unique, give Movatif a try. With its versatile weights and captivating features, it’s the typeface that will take your design 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.

Introducing Nipsey - a unique display font inspired by vintage albums and posters from 1970s music bands. With its classic typeface and groovy impression, Nipsey brings a fun and retro vibe to your designs. What sets Nipsey apart is the combination of various alternates, such as swashes, stylistic sets, stylistic alternates, contextual alternates, and ligatures, making this font even more distinctive and versatile. Nipsey is perfect for a wide range of display purposes, including album covers, posters, labels, t-shirts, apparel, signage, quotes, logos, greeting cards, logotypes, and more. Its eye-catching design adds a touch of nostalgia and personality to any project, making it stand out in a crowd. To access the alternative characters in Nipsey, you can use OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Corel Draw X version, and Microsoft Word. The OpenType features allow you to easily switch between uppercase and lowercase letters, as well as apply alternates and ligatures to create unique and customized lettering compositions. In your zip package, you'll find the Nipsey font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Nipsey also offers multilingual support, making it accessible for designers around the world to create designs in different languages. Whether you're designing for English, Spanish, French, or any other language, Nipsey has got you covered. If you have any questions, feedback, or comments, feel free to reach out to PutraCetol Design Studio via PM or email. The team is happy to assist you in your creative endeavors. In conclusion, Nipsey is a unique and versatile display font that brings a fun and retro vibe to your designs. With its alternative characters and multilingual support, Nipsey offers endless possibilities for creating eye-catching designs for various display purposes. So, let your creativity flow with Nipsey and elevate your design projects to the next level! Thanks for choosing Nipsey from PutraCetol Design Studio. Happy Creating!

Romi is a legible, feminine, script font, suitable for wedding invitations, valentine cards, beauty products, or wherever a soft, romantic image is sought. Suggestions for use: - wedding stationery - greeting cards - valentines day media - beauty product media - lingerie tags - women's magazine pages - classical music media The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present).

‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam. The Amsterdamse Krulletter, or Amsterdam’s curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful ‘g’, originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced. Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now. Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing ‘Krul’ on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, ‘Krul’ is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource.The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you.

Introducing the IMars Font - the future of typography is here! This sleek and modern font is the perfect addition to your design arsenal. Its clean lines and minimalist elegance make it ideal for contemporary, sci-fi, and space-themed designs. But that's not all - the versatility of the IMars Font also makes it the perfect choice for branding, adventure, and music projects. With its cutting-edge design, this font will bring your projects to the next level. Whether you're creating a stunning sci-fi movie poster or a sleek and stylish brand identity, the IMars font has you covered. So why wait? Get creative and try different styles and kerning combinations to find the perfect look for your project. Embrace the future of typography with the IMars font today! Try different styles and experiment with kerning for best results.

A touch of modernism for all kinds of projects Like the rest of the family (Rival Sans and Rival Serif), Rival slab has round shapes with bevelled endings on certain letters such as G, Q or Z. These are the characteristics that make Rival Slab a contemporary cast iron for all kinds of projects. It provides advanced typographical support with features such as case sensitive forms, small caps, ligatures, alternate characters, fractions, slashed zero, circled, pro kerning…It comes also with a complete range of figure set options It comes in 16 weights with corresponding italics and it’s suited for multiple purposes including editorial use, web font, apps, digital ads, ebook, and also for advertising, long text, packaging and branding. As a modern sans serif font family, Rival Sans has true italics to give more style in long texts.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Signskript is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Winner™ and Winner Sans™—Classic athletic aesthetics, finally as a versatile contemporary super family. Just when you thought there was nothing left to add to the classic sports design, we lifted it to a whole new level. Whatever you want to set in whatever space, with seven weights in seven widths both with or without serifs, you’ll definitely find the right proportions for it! Winner supports not only most Latin-based languages but also Greek. Its extensive character set also contains currency signs, arrows, as well as a wide range of numerals from small figures to Roman numerals. Furthermore, its sophisticated OpenType layout features give you access to alternative letter shapes, fractions, tabular figures, and contextual alternates. With more than 24,000 glyphs in 49 fonts, Winner leaves nothing to be desired. Grab Condensed Regular for free and give it a spin!

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all it’s strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals, provide a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics, in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.

In the amazing world of typography, the Glasfur font shines as a bright star. This font brings a sense of playfulness, uniqueness, and strength to any of your projects. With its bold and vibrant Bubble display style, Glasfur will take your message to the next level across a variety of visual displays. Glasfur's special features are not limited to his striking appearance. With four family variants, including regular, blurry, outline, and shadow, this font provides unlimited flexibility to depict your creativity. In addition, the ligature and alternate features allow you to create unique and interesting letter combinations. We understand that every project has different needs, and that's why Glasfur supports multiple languages, allowing you to connect with a global audience easily. Make each of your visual displays special with Glasfur. Own this font immediately and make your work the main highlight!

Pipeline is a futuristic and technical looking typeface. But as the name suggest it’s also earthly, (literally). Deep down underneath villages, city’s everywhere and even oceans there’s a network of pipelines. Providing us all sorts of supplies, like water and oil. Sewers wash fluid waste away. They are never to be looked upon as pretty or beautiful but purely functional. The soil peeled off and looked upon from above, a greater industrial infrastructure is revealed, cluttered like spaghetti, complex as the maze of corridors of termite colonies. I present two pipelines to you; one naked and one dressed. This typeface is very suitable for graphic, logo and poster design. It is quadratic shaped with round curves. It is modern and classic at the same time. It could be appealing for young, technical, digital, inventive and urban (sub) culture (at any age).

Briliond has an aesthetic style, and the serif-type tagline is modern and elegant. This font is equipped with ten levels of thickness, from thin to black suits your needs. Briliond is also equipped with the latest professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It goes well with modern serifs, and scripts depicted or stand firm as a title and brand representative for an elegant look. Briliond also comes with multiple languages, making it easy for any country and language use. It also comes with alternative Ligatures and styles to make your designs more attractive. Briliond is suitable for branding projects and various design purposes such as business cards, name tags, and uniforms as a brand enhancement. Advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc.

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all its strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals, provide a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics, in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.

Designed by Nadine Chahine, the Amariya™ typeface family is intended for long form, on-screen textual content. It supports the Arabic, Persian and Urdu languages. The design is consistent with traditional text typeface models popular in the Middle East, but has a lower level of stroke contrast optimized for on-screen reading. The family is available in nine weights ranging from a light hairline to a very bold black. The middle weights are intended for setting text copy while the extreme hairline and black designs are best suited for headlines, sub heads and similar applications. The Amariya family can be used for numerous projects from branding to blogs, in a variety of interactive design environments on both large and small screens. The fonts include the ITC Charter design by Matthew Carter as a Latin companion.

My goal for Harfang was to create a serif typeface that would be easy to read at text sizes, while having a strong personality at larger sizes. The initial design had a purely rounded style, but with each development pass I introduced some angularity. The final result is a typeface that is easy to read in long texts, advertising copy, annual reports and the like; but one that also provides a crisp and stylish appeal in more prominent display settings. I choose the name Harfang (Harfang des neiges — Snowy Owl or Great White Owl) because after my first typeface, Migration, I wanted something with a thematic relation. On a more personal level, Harfang is the official bird of Québec, a province with a long winter and a wonderful, white landscape, and the place I call home. —André Simard

These initials set I collected from Early 15th century manuscript called Claudii Ptolemei Cosmographia, created by the famous Greek scholar Claudius Ptolemaeus in the middle of the 2nd century. The origins of this style called White Vine with interlaced patterns and vine should be found in Ottonian Renaissance manuscripts. The highest level of porthole craftsmanship points to the Florentine workshop, headed by Francesco d'Antonio del Chierico, as the most likely place of execution. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/u3novoj7mm2vrth/Ptolemei-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman. Thank you!

NCL BLISS SUREAL is bold brush script font. It's fun, unique, stylish and modern-classic display font. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level! It was purposely crafted to be used in large point sizes, although it doesn’t lose its magic in small point sizes. It is perfect for headline, billboard, magazines, website, titles, poster, branding, t-shirt design, and logos. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. With this beautiful font, absolutely you can make your project stand out from the rest. See the previews above to get some inspiration on how to use them. FEATURES Contains 374 Glyphs Uppercase, Lowercase, & Numeral Punctuation, Symbol & Currencies 25 Ligatures Multilingual Support

Ovink is a rounded type family designed for great distance legibility. Named after the legibility researcher Gerrit Willem Ovink, in its early stages was subjected to experimental legibilty investigations of distance and time threshold methods. The results of this heavily influence the design. The high regularity of the letters also makes the typeface suitable for running text and the wide span of weights motivates a broad usage for the setting of both display and text. Ovink is also loosely inspired by Knud V. Engelhardt’s work for the street signage, designed around the years 1926-27 for Gentofte in Denmark. Being rooted in the Danish typography tradition, Ovink has a sturdy unpretentious look to it, yet compared to its predecessor the curves are tighter, and characters have a higher level of differentiation. Details include 9 weights with matching italics.

Inspired by the streets of Brazil, Just Pixo is a display typeface that mimics pixação, Brazilian graffiti. In his book Pixação: São Paulo Signature, François Chastanet says, “This alphabet, with its vertical inscriptions axis, is to be directly classified in the king-size, monumental category; the systematic use of capitals, meticulously aligned and justified, their extreme verticality, are symptomatic of this architectural dimension”. As such, we designed Just Pixo for monumental type sizes and vertical alignments—a family with seven weights, alternate glyphs, multiple ligatures and is provided as a Variable Font too. Unique decorative serif capitals and lowercase sans serif versions make Just Pixo the perfect option for large displays, strong headlines, urban logos, and contemporary concepts. Despite its controversial use on the streets, this often politically charged style will typeface will take your next project to the next level.

CA Cula is standing in the tradition of cool tempered sans serif typefaces like DIN. But at a closer look it reveals a tendency towards rounder reading-friendly forms. The denaturalized ink traps give CA Cula a very special and individual look in display sizes, whereas in smaller sizes the positive aspects of huge ink traps show effect. The text looks clean and bright without black dots in the typographic image. This makes CA Cula suitable even for longer text, while the bold weight makes pretty cool headlines. The choice of weights aims at an easy straight forward use. A set of five well balanced weights ought to be enough to cover most needs without throwing the typographer into questions like: demibold or semibold? If you are looking for the extra kick, look out for CA Cula Superfat.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Rafskript is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Stencil typefaces are popular because they are striking and decorative, and their associations - whether Utility, Travel, Vernacular, etc - are evocative. Anostencil is developed from, but not exactly like, our Ano typeface. Ano’s geometric skeleton, tweaked a bit, allows for a level of abstraction while retaining legibility. Some of Ano’s characters, such as the a, e, f and r, have been amended to make clearer, more graphic shapes when the stencil design has been applied. Different application of the stencil gaps in the letters make functional but decorative and expressive linear forms. This is particularly evident in Anostencil’s extended character set which features codified, semi abstract shapes. So the stencil design in Anostencil has been applied in not necessarily the most logical or immediate way, but in a way that makes each letter a striking and graphic shape.

Introducing the newest addition to your font collection — Sparkling Sunday! This font is the perfect combination of vintage and modern, with bold and chunky letters that are sure to make a statement. The font is inspired by the 80s and 90s era, with a touch of modern typography. Each letter is carefully crafted with attention to detail, giving it a unique and eye-catching look. The font is perfect for posters, flyers, logos, and any design that needs a retro touch. It comes in a regular style and an extra including 26 retro graphics to allow versatility in your designs. Simply install the file as a separate and you will get to type them using the alphabets A-to-Z to access them. Get ready to take your designs to the next level with this cute Sparkling Sunday Duo.

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

Mashok is a retro condensed font that exudes a vintage feel, perfect for adding a touch of nostalgia to your designs. This font features a tall and narrow letterform, making it ideal for creating eye-catching headlines and titles. With its unique stylistic alternates and ligatures, Mashok adds an extra level of charm and personality to your designs. Whether you’re creating posters, book covers, or other graphic design projects, Mashok is sure to make your text stand out. Give your designs a retro flair with Mashok today! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Start from my love to vintage motorcycle culture, i am really glad living in this era when vintage motorcycle is now being such a lifestyle. People can express their self through the motorcycle, completed with the fashion and style itself to make their characters and personal branding appear stronger. It can open the new social circle, the community, to those who have the same passion to it. Based on that situation, i try to contribute to the scene with making a typeface that brings the personality of it. So please welcome, Sparkplugs. A vintage biker style font with the strong serif style and bold body. Comes up with the sans-serif too, just in case you need a pair. Handcrafted carefully for your vintage branding, rebel fashion stuff, clothing brand, as long as they're on it, get ready to rockin' all the way!

According to designer David Farey, Cachet is a monospaced, monostroke typeface -- that isn't."" Why the sleight of hand? Typefaces that are limited to a single character and stroke width suffer in terms of legibility. Farey's goal in drawing Cachet was to create a typeface that gives the illusion of monospacing, while delivering a subliminal dose of reader-friendliness. At first glance, Cachet appears to be constructed of straight and nearly-straight strokes. A closer look, however, reveals several subtleties. Curved strokes have an almost calligraphic spontaneity. Places where character strokes meet are tapered slightly, while stroke ends have been flared. These quiet deviations from geometric uniformity give the design a human, organic, and decidedly non-digital look. An added benefit is that the subtle design modulation benefits readability. Farey's subtle design modulation results in a legible and highly usable new typeface.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Mediterra is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Sutixo is the font for speed enthusiasts. Designed with the sports racing theme in mind, this font is perfect for creating bold and attention-grabbing designs. It comes with four variations, each with its own distinct style, and various alternate characters and ligatures to take your plans to the next level. Whether you’re creating graphics for a motorsport event or simply want to add a touch of excitement to your branding, Sutixo is the font you need. So gear up and get ready to race with Sutixo! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Less is More. This stencilled version takes away some of Didonesque’s structure while adding another level of distinguished style and supreme elegance. The Elegante fonts epitomise the style required for high-end fashion and beauty applications with their crisp curves combined with tapered serifs and terminals – instantly creating a polished and fashionable aesthetic. Didonesque Stencil was designed for large display purposes, branding, corporate identities, headlines, advertising, wedding invitations and the like. Of particular note are the minimal ball terminals which are available by activating Stylistic Set 2 – they’re perfect for adding that extra bit of magic to your typographic designs. Key Features: • 4 Stencil weights in Roman and Italic styles • 4 Stencil Elegante weights in Roman and Italic styles • 4 weights in Condensed style • Small Caps, Petite Caps, Alternates, Ligatures and Contextual Alternates • Full European character set (Latin only) • 780 glyphs per font.

Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the "oldstyle" of the Italian renaissance, its contrast reveals a clear underlying modern influence. In a typical Italian artistic fashion, Paganini manages to be a superb text face while having enough priceless ornamental moments to make it great in display uses as well: Check out the splayed M, the wide-tailed g, the flowing tail on the y, the high-armed k, etcetera. While the original metal version was limited to five basic fonts, this digital expansion includes small caps in the three main upright weights, plenty of alternate forms in all fonts, a super-seductive Open font, and an expanded language support covering the majority of Latin-based languages.

The original Graphique Pro was designed by the famous Swiss designer Hermann Eidenbenz in 1945 and included one outline shadow style. His idea of a very narrow, very economic headline font became increasingly more popular over the last decades and since the recent trend of layered fonts his idea is more up-to-date than ever. profonts studio now took the idea of the Graphique Pro to its next level: Graphique Pro Next. This layered type family consists of 8 styles which can be combined in plenty of ways to create unique designs. The fonts thereby preserve the outstanding and timeless drawings of the original Graphique Pro font and will add an aesthetic and fresh look to every project. Please have a look at the Graphique Pro Next Type Specimen for more details about the language support and font layer combinations.

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all its strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals provides a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central European characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.

A font face with cyber, spatial, and virtual connotations that offers a decisive futuristic and techno spirit. Inspired by geometric forms from visual tendencies in the early 2000s, it was used once in corporate identity. Originally created in 1998, it remained unpublished by its author until today. It is now offered with many improvements. With one alternate for H and more diacritics and ligatures and extended range glyphs, Conectiva can be used in titles and display text that require a futuristic and dynamic style. Conectiva 2.0 has been arranged and improved with more glyphs and new OpenType features (Fractions, discretional and standard ligatures, slashed zero and more new stylish alternates). This upgrade includes 4 new weight variables (Light, book, bold and extrabold). Recommended for games, presentations, or any graphic pieces that reveal and need futuristic, techno, and/or Sci-fi style.