Part of the wave of modern explorations expanding on the 50+ year-old traditions of groovy psychedelic typography, Mysterylab brings you Phaserwave. With an intriguing fusion of pillowy shapes and sharp stroke ends, this font cooks up a heady mélange of whimsical flow and high precision. We've applied our usual meticulous attention to great kerning, extensive character set, and seamless functionality, so this font's ready to rock your designs any way you might want to do it.

Meet "Retroteen," the font that takes you on a nostalgic journey back to the vibrant 80s and 90s. The striking contrast between horizontal and vertical strokes adds a unique touch, exuding a bold and dynamic personality. From funky posters and album covers to retro-themed branding and advertisements, this font brings an air of nostalgia and playfulness to any artwork. It is also provides language support for the full Latin alphabet along with Western and Eastern European characters.

Bakewell is the 4th typeface of the Winslow Type System. It's a low contrast sans-serif with ball terminals and a sweet disposition. The typeface includes a wide range of styles, widths and weights that make it a great addition to any type collection. From Narrow to Wide and Hairline to Bold, the font family offers extended optionality. Packed with Opentype Features, users can create one-of-a-kind designs perfectly tailored to their specific needs!

Stenka is a sans-serif stencil typeface that stand for display typeface to use in any typographic situation. It has his own unique style in expressed perfect condensed forms. Stenka is an ideal font family for display, print, corporate identity, mobile devices, magazine cover, signage, and web design creation, with a set of ligatures and alternative characters for your design in any layout. The family has 4 weights ranging from Light to Black and their italic.

Oldion is a captivating display font, draws inspiration from the boundless realms of science fiction and modern technology. With its distinctive and futuristic accents adorning each letter, Oldion breathes life and dynamism into your projects. Available in both regular and rounded styles, infuses a touch of innovation and intrigue into your designs. Oldion is your ideal choice for a wide range of creative applications, from commanding movie posters and attention-grabbing headlines to captivating packaging and distinctive logotypes.

Introducing Boxtoon, a lively comic font with a bold, modern-retro twist. Bursting with fun, it seamlessly blends the nostalgia of classic cartoons with a contemporary edge. Boasting 16 versatile styles, this multilingual marvel supports Cyrillic characters. Perfect for dynamic displays, comics, posters, book covers, and playful designs like t-shirts, games, and digital crafts. Embrace the whimsical charm that Boxtoon brings to kid's books and beyond—an all-in-one font for your creative adventures! **Uppercase

Nocken is a sleek and modern sans-serif font that exudes elegance and simplicity. With its clean lines and minimalistic design, Its versatility allows it to be used for a wide range of projects, from branding and logo design to web and print materials. Nocken's balanced proportions and subtle details make it highly legible and visually appealing, ensuring that your message will be conveyed with clarity and style. to see more our work visit our website: skillyasstudio.com

Mahezty is a modern, bold and fashionable serif display font. This font is imposing and features uniquely shaped letters, and as a result, it will easily match a wide range of creations that require a distinct touch. Mahezty is perfect choice for people looking for modern, minimalist, elegant, clean, beauty design styles. Suitable for almost any graphic designs such as identity, business cards, branding materials, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc

A geometric sans serif with a square chiseled appearance. Precise curves are met with straight lines and tapered angles to produce a fresh, technical typeface. It’s large x-height and neutral width give it good legibility at small point sizes. These refined rectangular features make it ideally suited to a wide range of modern applications. Details include 550 characters with alternative lowercase a, e, g and y. 5 variations of numerals, manually edited kerning and Opentype features.

Konstanz is a sans serif font family inspired by the design of books and magazines for museums, art galleries, design biennials, architecture, and theater, among others. Its design focuses on a grotesque aesthetic but brings back certain shapes from Bauhaus and Futura. Konstanz includes 8 weights plus its matching italics, besides a stylistic set that increases its use possibilities. Konstanz ensures a graphic with a high impact and is ideal for designing editorial projects, posters, branding, and advertising.

Introducing Millesa: An elegant and modern serif typeface. With its modern and elegant appearance, Millesa brings a luxurious and clean style to your projects such as websites, modern logos, branding identities, social media quotes, wedding stationery and various other needs! Millesa displays capital letters A to Z which are unique and classy, ​​of course because they are made with great care so that they become beautiful fonts and can be adapted to various large projects that you want.

Vidocq is a single weight typeface designed for use in headlines and titles, inspired by the woodcut styles of the 19th century. Its rounded forms and dark stroke translate into a bold yet friendly appearance coupled with a narrow proportion that let’s it set well in condensed settings. Thanks to an extended character set and wide range of Opentype features that includes arrows and fleurons, Vidocq was created to allow designers to play with various styles while composing layouts.

"Wild Graf" is an urban graffiti font characterized by sharp edges and a bold look. Ideal for music posters, apparel designs, shirts, and streetwear, this font brings a touch of edginess to your projects. The unique style of "Wild Graf" makes it the perfect choice for death metal or urban graffiti themes. Whether you want to create a strong and powerful statement or simply add a touch of attitude to your designsWild Graf" is the font for you.

Introducing Madriz, a slab serif font with a retro feel that's perfect for any project that needs a touch of old-school charm. With over 32 fonts in one font family, Madriz offers a wide range of styles to suit any need. You can choose from Thin to Black weights and Regular to Extra Expanded widths to create your perfect look. Madriz is inspired by the old-school signage of Madrid, Spain. The name "Madriz" is actually the affectionate nickname that Madrileños, the people of Madrid, gave to their city. The font's bold, blocky letters capture the essence of Madrid's vibrant and historic streets. Madriz's versatile nature makes it a great choice for a wide range of projects. Its bold, retro style is perfect for showcasing heritage brands or giving a modern touch to classic designs. Madriz can also be used to create a sense of nostalgia, making it ideal for retro-themed projects or campaigns. Here are some of the ways you can use Madriz: Titles and headings: Madriz's bold, eye-catching style is perfect for titles and headings. Text blocks: Madriz's wide range of weights and widths makes it suitable for text blocks, from body copy to large paragraphs. Logos and branding: Madriz's retro charm makes it a great choice for logos and branding. With its 32 font styles and support for over 90 languages, Madriz is an incredibly powerful tool for any designer. It can be used to create a variety of looks, from classic and elegant to modern and edgy. Whether you're working on a print project, a web design, or an app, Madriz has the potential to make a lasting impression. Madriz is the perfect font for anyone who wants to add a touch of old-school charm to their designs. With its wide range of styles and features, Madriz is sure to make a statement in any project. Would you like to get 5 completely free fonts worth over $75? No tricks, no hidden words, terms or anything. Just subscribe to my newsletter, make sure to check your email to approve the subscription, add me to your contacts so that the emails don't end up in spam folder and you will get 5 fonts for free. The fonts are packed with alternates, ligatures and some even come with extra goodies. Happy creating everyone!

Looking for a typeface that oozes class and style? Look no further than Raincoat. This stunning display font combines the best of both worlds, with a geometric sans serif that’s been given a timeless, antique feel. But Raincoat is more than just a pretty face. With its OpenType features, it’s a font that can truly personalize your designs. Letter combinations are transformed into custom ligatures, making your work truly unique. From the altered ends of the “T” to the interlocking rings of the “O”, Raincoat is a typeface that adds a touch of personality to any design. So if you’re looking to make a statement, whether it’s for a logo, poster, or website, Raincoat is the perfect choice. With its candid style and classy design, it’s a font that’s sure to impress. So why not try Raincoat today and see for yourself the creative design options it can bring to your work? Most Latin-based European, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kalmyk, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Khalkha, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, 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), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

While the Aspire SmallCaps family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow SmallCaps family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire Narrow SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire Narrow SmallCaps Family bundle: - 430 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire Narrow SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

While the Aspire family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire pays homage the techno display styling of the inspiration logotype, further evolving beyond its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It adopts a sturdy yet approachable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Aspire Narrow Family bundle: 477 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. 3 weights in the family: Light, Regular, & Black. 3 obliques in the family, one for each weight: Light, Regular, & Black. Fonts are available in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here’s why the Aspire Narrow Family is for you: - You’re in need of a narrow automotive sans font family with a range of weights and obliques. - You’re love that ACURA letter styling, and want to design with a narrow font within that genre. - You’re looking for an alternative to Eurostile with more stylized letterforms. - You’re looking for a clean techno typeface for your starship console labelling. - You just like to collect quality fonts to add to your design arsenal.

💥Introducing "Electrone" – Unleash the Power of Typography with a Superhero Flair! Unleash the electrifying energy of "Electrone," a dynamic font that embodies the essence of superheroes with lightning speed, unmatched strength, and a dash of style. This font is not just a typeface; it's a superpower for your design projects! Key Features: Electrifying Glyphs: With 890 meticulously crafted glyphs, "Electrone" offers a vast array of characters that will add a powerful punch to your designs. Every glyph is a superhero in its own right. Sided Ligature: Seamlessly blend characters with our specially designed sided ligatures, creating a visual impact that resonates with strength and unity. Alternate Characters: Customize your text with alternate characters to give your designs a unique and personalized touch. The alternates are carefully curated to ensure versatility without compromising the superhero aesthetic. Lightning Swash: Add a bolt of energy to your typography with lightning swashes that strike through your text. Watch your words come to life with the electrifying force of "Electrone." Wings of Typography: Elevate your designs to new heights with the winged elements included in "Electrone." These wings symbolize the freedom and power associated with superheroes, making your text soar above the ordinary. Suit Up Your Designs: "Electrone" is not just a font; it's a complete superhero costume for your words. Whether you're working on comic book titles, posters, logos, or any design that demands a bold statement, "Electrone" is here to save the day. Perfect for: Comic Books and Graphic Novels Superhero Movie Posters Action-packed Logos Gaming Graphics Apparel Design and more! Embrace the electrifying power of "Electrone" and turn your designs into epic adventures. Download now and witness the transformation of ordinary into extraordinary!

The Wavetable typeface is not your ordinary run-of-the-mill typeface. Its unique rectangular letterforms and sophisticated techno look sets it apart from other fonts in its category. This ultramodern typeface has been designed with the utmost attention to detail, inspired by the sleek designs of electronic musical instruments. One cannot help but admire the intricate details of the Wavetable typeface. Its unorthodox letterforms are reminiscent of the precision and finesse of a well-tuned musical instrument. Each character is carefully crafted to create a harmonious balance between form and function. But the Wavetable typeface is not just about looks. Its OpenType fractions, primes, and all currency symbols make it a versatile font suitable for a wide range of design applications. Whether you’re designing a sleek and modern logo or a futuristic poster, Wavetable has got you covered. In summary, the Wavetable typeface is a masterpiece of modern design, inspired by the world of electronic music. Its sophisticated techno look and unique rectangular letterforms make it a standout headliner that is sure to capture the attention of any audience. 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.

TT Ricordi Marmo useful links: Specimen | Graphic presentation | Customization options TT Ricordi Marmo extends the series of experimental projects within the TT Ricordi fonts collection. The main goal of the TT Ricordi project is to look for gems in old signs and on stone and bringing those inscriptions back to life in the form of contemporary fonts with the umbrella name TT Ricordi. TT Ricordi Marmo is an original experimental project by Eugene Tantsurin inspired by inscriptions at Basilica di Santa Croce in Florence. Working on it, we wanted to create a contemporary typeface that would unite the elements of a Florentine sans-serif mixed with more traditional visual solutions typical for the period's serifs. As a result, we got a bright and somewhat provocative typeface with irregular serif distribution, some unusual contours and a free spirit. In small body size TT Ricordi Marmo makes a neutral impression, but as the size gets bigger, the user is taken on a playful quest to search for interesting moves, graphic peculiarities and unusual solutions. TT Ricordi Marmo is great for poster design, packaging, and setting large and medium-sized inscriptions. Thanks to its idiosyncrasy, the typeface may look nice both at a poster in a grand academic theater and at an acid rave party. You can find a set of icon patterns that can be used in several ways. First, you can substitute letters with these patterns, thus getting an inscription with a visible graphic element. Then you can also construct borders and interval marks, or just use them as icons. All patterns are perfectly adapted to the design of letters in the font. TT Ricordi Marmo consists of 2 styles and one variable font. Each of the styles contains over 630 glyphs and 18 OpenType features. As we have conceived TT Ricordi Marmo as a poster typeface from the very beginning, it features small capitals instead of lowercase characters. In addition, the typeface has a set of interesting ligatures, stylistic alternates, pointers, hands, and pattern icons. TT Ricordi Marmo OpenType features list: AALT, CCMP, LOCL, NUMR, ORDN, TNUM, PNUM, CASE, SS01 (Alternative latin E), SS02 (Alternative Eszett), SS03 (Alternative Cyrillic I), SS04 ( Alternative Amper- sand), SS05 (Romanian Comma Accent), SS06 (Dutch IJ), SS07 (Catalan Ldot), DLIG, CALT, SALT.

A sign of something better When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.’ Speed reading Late for a meeting and can’t find your way? Trying to catch a flight? Lost in a hospital? Reading signs is a different business to reading a book or a newspaper. Text on signs needs to be deciphered quickly and effortlessly. So the legibility criteria for signage letterforms are different to those for normal reading, too. Throughout FS Millbank’s uppercase and lowercase alphabets, characters have been given features for extra definition, including: wide ink traps on the A, K, M, V, W, X and Y; a serifed i, accentuated spurs on the a, d, l u; and different x-height shapes on the b, g, p and q. Distinctive forms and generous, open internal shapes all help the quick reading of sign text, and wide, open terminals and counters allow similar letter shapes to be distinguished easily when viewed at different angles. Running down a corridor, maybe... Positive/negative Standard type tends to glow on the kind of dark backgrounds often used for signage, and look heavier than its true weight. To correct the imbalance caused by this optical trick, special weights of the typeface have to be drawn for these ‘negative’, light-on-dark applications. These are lighter than their comparable positive weights to overcome the ‘glow’ effect. After extensive tests of the negative weights, at all sizes, we achieved the right optical balance. Glowing, glowing, gone. Icons This wouldn’t be a signage typeface without its own set of icons, or symbols, to help people find what they’re looking for. So, to sit alongside the positive and negative fonts, we’ve created a comprehensive set of 172 icons, covering a wide range of applications from transport and user interface to information and directional. Designed within the typeface capital height, they sit on the baseline and are spaced centrally.

Download PDF Instructions from https://peggofonts.com/download/Rationell-Instructions_4.59.pdf Behance presentation https://www.behance.net/gallery/88695175/Rationell Rationell is a functional multipurpose corporate typeface, based on classic 1950's swiss rationalism, subtle tuned on a XIX century didonesque modernist structure, a contemporary interpretation with the eyes of the Latin idiosyncrasy. Designed in 12 upright weight with 12 matching Italic, from Hairline to ExtraBlack, average weights (Light to Bold) are easily read on text sizes, printed and digital media, while Hairline to ExtraLight and ExtraBold to ExtraBlack are especially suitable for big contexts like headlines, poster and higher sizes as big as storefronts, monumental billboards or building size printed mesh covers. 40 OpenType features: Standard and Discretionary Ligatures, Lining, Old Style and tabular numerals, scientific and fractional forms, slashed zero, stylistic and contextual alternates (rounded dots, "Il" readability, auto roman numbers, auto group enclosed numbers, slashed zero on alphanumeric contexts), sensitive case, localized forms, glyphs composition/decomposition, access to all alternates. Rationell has a serious but kind timeless look, an ideal voice for corporate publishing, branding, wayfinding and complex technical information systems. It Supports 222 Latin based languages, with +2200 glyphs Rationell is capable to solve the most advanced nowadays global design needs.

Any prototype you can imagine, Skolar Sans can materialise. This industrious type family is more than just a versatile partner for our award-winning Skolar collection: it is a true sans-serif type system envisioned for the age of responsive design. We developed Skolar Sans to accommodate contemporary typographers and the challenges they confront: an ever-changing spectrum of outputs and devices, in which serious typography can get lost. Skolar Sans is engineered to cope with complex editorial texts and data-rich layouts alike. Its construction is designed for easy reading, and its subtle personal style and a touch of flourish. From gently thin to black, the finely-tuned weight variants will fit any composition from wide-screen dashboards to compact mobile editorial designs. Its four subtly graded width variants allow you to fit any page context with comfort. The 72 styles; 36 weight and width variants in uprights and true italics with ligatures, arrows, scientific figure variants, and fleurons. The two variable fonts (one for uprights and one for the italics) allow user precise navigation of the Skolar Sans design space and streamline delivery. The linguistic scope of Skolar Sans PE is an exact match to Skolar PE: Latin, Cyrillic, and Greek (including polytonic) scripts and support for hundreds of languages and transliterations.

According to the two most popular statistics companies in England and North America, eight out of every ten people like to dance. Talk about useless information! But with such a market statistic, we thought there would be some collections of dingbats out there with dancers in them. And surprise, surprise; we found not even one! So this was our opportunity to be the first to issue such a collection, and we are very pleased with the results. Dancebats is a font of 75 silhouettes of people dancing. All kinds of dancing. Ballet, techno, slam, rock, swing, aerobic, hip hop, jump, lounge, and much more. Take a close look at the silhouettes and find out why these are shapes that belong on every party design, bar none. The Dancebats outlines were tweaked for use at all sizes, from the very large, as in posters and signs, to the medium height, as in party flyers, invitations and publications, to the very small, as in web banners and pin-on buttons. We are anticipating these silhouettes to be used soon all over posters, signs and web sites everywhere, so get your hands on a copy and give yourself some ammunition for your next party design.

Salt&Spices Pro is a welcome addition to the ever popular modern calligraphy genre. Digitizing the many handwritten samples into a fully functional connected script was done with great precision, carefully guarding the authentic look and feel of vintage dip pen calligraphy. Salt&Spices Pro is a very versatile 9 font family, consisting of 3 casual styles: Regular, Bold and Shadow. With 587 glyphs each, they offer great flexibility in customizing words and phrases to suit your personal taste. For instance: the appearance of initial and terminal letters can be customized using the glyph pallet. Contextual alternates, Swashes and Stylistic sets give you the ability to replace spaces by 3 alternate connecting spaces or add swashes to initial/terminal letters. Double letter ligatures help sustain the natural flow of handwriting. In addition to the 3 calligraphic family members 3 SmallCaps Sans styles and 3 SmallCaps Serif styles were added. They all have 435 glyphs and match very well because they were designed using the same vintage nib. Each of the styles can add great variation to your designs and they supplement and support each other perfectly. Add exceptional language support to all that and you have the perfect ingredient to spice up even the most demanding design project.

Gramers is an elegant and modern minimalist font family, a new roman sans serif font carefully crafted, These font ideas come from various references, from vintage, classic, art deco, to the modern era. Carefully drawn with high contrast between the strokes bold and thin with the aim of making even the simplest sans serif letters look sensual, elegant, and warm. The feeling of versatility and luxury you get in Gramers. As you can see in the display of our creations such as Branding, Header, Logotype, Posters, Magazines, Packaging, Art deco wedding invitations, and others. This shows that Gramers can accommodate various design styles. The flat lines cover five styles (each light, regular, medium, semi thick, Thick), each of which includes nearly 293 glyphs. OpenType features include 103 standard ligatures and a small number of character variants, and multilingual support (including multiple currency symbols). Features: • 5 Font weight • uppercase • Alternative & Ligature Styles • Numbers & Punctuation • Characters with accents • Supports Multiple Languages This type of family has become the work of real love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you make with Gramers! Feel free to use the #Dora Typefoundry and #Gramersfont tags to show what you've done!

Frutiger Capitalis Regular and Outline belong to the group of typefaces for the Linotype’s Type Before Gutenberg project. However, they are not based on direct historical sources. At first glance, they may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was “a liberation”. After working on so many sophisticated and meticulously designed typefaces, Frutiger Capitalis was a breath of fresh air. Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger Capitalis Signs, a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately “legible”, others leave room for interpretation. Some of the symbols are the product of Frutiger’s imagination, such as his “Life Signs” — soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life, a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply “wants to tell stories, to draw thin lines, create contours of signs; that is my style”.

Reminiscing the old era of historical books (seriously, that old), circa 19th century. We crafted the letters by connecting the dots from the past with research for every flow, ornaments, look, and feel, to precisely aim for that perfect shape. Ephemera Blackbooks are born with a dark and robust personality. Feel the European historical mood right away, even with just typing it with your keyboard. You don't even realize when the design is done cause we make it so easy as a one-click-time-machine to your works using Ephemera Blackbooks font. It will be a perfect armory for a vintage headline, old book cover concept, sign, posters, playing cards deck design, vintage labels, beer labels, bar decoration, apparel, merchandising, you name it. OTF Features : Stylistic Set 01 to 07 and Ligature Glyph Count : 355 glyphs Language support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, VunjoZulu

Couldn't you really use a wish right now? Girly. Swirly. Quirky. And utterly adorable. This Pro version of one of Kimberlys latest cutesy handwriting fonts has received lots of corrections and tweaks to the outlines - to remove autotracing artefacts, stroke width inconsistencies and create a better flow. Finally the character set was completed and expanded. Job done! Back to stargazing.. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming."

Why Baka Expert? There’s actually a simple answer. The original Baka was done as an experiment of sorts. I wanted to quickly capture a rough, frenetic handwriting style that broke normal conventions. Commercially, it was successful, received some accolades ... but I wasn’t completely satisfied, so I went back to the master art and the lettering explorations and produced Baka Too. This addressed some of the line items I wanted to refine in Baka. I liked it. Each font has been out for a few years now, and I have seen them in use. I’m very critical of my work, and I could still see things—modulations of strokes, angle of the nib, ink swell, and so on—that I wanted to change, refine, and reorder. For me, it is typographic indulgence, but I wanted to take this handwriting ‘font’ and turn it into a robust ‘typeface.’ So I did just that and a bit more by adding back more of my initial flourish concepts; attaining tighter, consistent control of the modulation; optimizing points; adding titling options; and expanding the character language set. Baka and Baka Too had to exist to produce this entirely new re-envisioning of an old friend ... and they all play well together :)

TagBanger WADE1 is the first in a short graffiti font series. This series will showcase the hand-styles of various mature street artists that Okaycat is working with. This first release highlights the style of one such graffiti writer, WADE1, who has an eclectic writing style after many years proliferating street art. Long-term graffiti artists develop their own style over their careers, spending as many endless hours honing their letter-forms as any full-time professional typographical artist. Style, individuality, and originality are everything. These attributes are key to the graffiti artist's tao. A writer who copies, or "bites" loses respect -- their work will be painted over or "crossed out" by all other writers. Okaycat's TagBanger series aims to demonstrate just how widely these individual styles can diverge, likely due, at least in part, to the social pressures of a community that ruthlessly punishes copycats. WADE1's tags were transformed into vector format from a generous sampling of their most recent scrawls. Our TagBanger series may not be composed of the most legible or beautiful fonts, but we imagine there are uses for these whenever highly unusual handwriting is needed. TagBanger WADE1 is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Evoque Text is a humanist serif type family specifically designed for a comfortable reading experience. This has been achieved by optically adjusting the regular weights from my original Evoque family (released November 2021). You will notice a significantly reduced x-height and longer ascenders and descenders, complemented by adjustments to weight and spacing. This makes Evoque Text a perfect choice for any long passages of text. All OpenType features have been retained from Evoque. A plethora of swash alternates and discretionary ligatures enhance Evoque Text, giving you the opportunity to embellish your typography. Simply activate Stylistic Sets to start adding these flourishes to your text. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 14 fonts altogether over 7 weights in roman and italic, you can also avail of two variable fonts which allow you to fine tune the weight to your exact liking. Evoque Text has an extensive character set (900+ glyphs) that covers every Latin European language. Key features: 7 weights in both roman and italic 80 Alternates 26 Ligatures Small Caps Variable fonts included with full family Full European character set (Latin only) 900+ glyphs per font.

Features: Palmer Lake Print: Uppercase letters, numbers, & extended punctuation Palmer Lake Script: Lowercase letters, numbers, & extended punctuation Non-English support for the international designer Same stroke thickness with each font, so you don't need to make any time-consuming adjustments to get it looking right! Palmer Lake Print (uppercase font) letters are the same height as the Script lowercase letters, so making quotes is super easy! This is such a fun new duo, perfect for creating quotes, logos, or just adding a hand-written touch to any project! While other fonts usually take some size adjusting to look just right, Palmer Lake duo has the same stroke thickness for both fonts, so you can set each font to the same size and you're done! Plus, the uppercase letters of the Print font are the same height as the lowercase letters of the Script font (see the samples), so lining them up with one another is a breeze! Each font also has alternates for each letter, so when you type uppercase or lowercase for each font, the letters will change slightly. For example, tying in all caps with the Script font will connect each letter, whereas typing all lowercase will disconnect each letter. Test it out for yourself in the box above!

John Seddon (1644-1700), was a famous english writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - YES (that is the title of the book) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, animal and human kingdon inspired penmanship forms in the Bestiario font. On the other hand, his highly ornamented animal kingdon inspired capitals and alphabets in the Seddon Penmans Paradise Capitals typeface. The “SeddonsFleurons” completes the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

Webdings™ is a symbol font designed in 1997 as a response to the need of Web designers for a fast and easy method of incorporating graphics in their pages. Webdings contains a wide variety of Web-related images of the kind found in common use across the Web, as well as some more unusual drawings. User Interface icons suitable for creating page navigation elements are also included. Webdings is ideal for enriching the appearance of a Web page. Because it is a font, it can be installed on the user's system, (or embedded in the document itself) is fully scaleable and quick to render. It's a perfect way of including graphics on your site without making users wait for lots of graphic files to download. Each Webding has been fine-tuned to ensure high quality and clarity on the screen, regardless of the complexity of the individual symbol. Character Set: Picture/Symbol This version of Webdings is the licensable equivalent to the font versions coming preinstalled with Microsoft Windows® since version 8. It is identical regarding font name, language coverage and other font behaviour and is perfect for document exchange with machines that are not running the Windows® operating system.