Introducing Zephyrus, our new condensed modern cyber font that's designed to take your designs to the next level! With its unique condensed squared feel, this font is perfect for anyone looking to add a modern and futuristic touch to their work. But we didn't stop there - we've also included a rounded version of Zephyrus, which softens the edges and provides a more approachable feel. This versatility means that you can use Zephyrus for a wide range of design projects, from logos and branding to websites and digital presentations. In addition, Zephyrus comes equipped with numerals, symbols, punctuation, and foreign language support, making it a versatile and functional font that's suitable for global projects. Whether you're creating a tech-based project or looking to add a futuristic touch to your branding, Zephyrus has you covered. Zephyrus is a great font for modern and futuristic designs. Its unique condensed squared feel and rounded version make it a versatile choice for a wide range of design applications. Here are some perfect use cases for Zephyrus font: Technology-based websites and apps: Zephyrus is an excellent choice for designing websites and apps that focus on technology and innovation. Its modern and futuristic design complements the content of these websites and apps and creates an atmosphere of innovation. Corporate branding: Zephyrus can be used to create a modern and innovative corporate branding identity for companies in the technology and innovation sectors. It is perfect for creating logos, letterheads, business cards, and other branded materials. Advertising campaigns: Zephyrus is perfect for advertising campaigns that require a futuristic or high-tech look and feel. It can be used in print ads, online ads, and other promotional materials to create a sense of innovation and modernity. Product packaging: Zephyrus can be used to create packaging designs for technology-based products. Its modern and futuristic design can help these products stand out on shelves and create an impression of innovation and quality. Presentations: Zephyrus is a great choice for creating compelling and modern presentations. Its unique design can add an element of creativity and innovation to your presentations and help you stand out from the competition. Video game design: Zephyrus can be used to create a video game design that requires a futuristic or cyberpunk style. Its unique design can help create an immersive gaming experience for players. In conclusion, Zephyrus is the perfect choice for anyone looking for a condensed modern cyber font that's both versatile and functional. With its squared feel, rounded version, and support for numerals, symbols, punctuation, and foreign languages, Zephyrus is a font that's sure to take your designs to the next level! Zephyrus features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Style +278 Total Glyphs ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ⚠️For more information about accessing alternatives, you can see this link: http://adobe.ly/1m1fn4Y ——— 🔑Important tutorial from the author: Tutorial for Mollusca font trio: https://lnkd.in/d984CQD6 How to use Midway | Retro Script Font on illustrator: https://lnkd.in/eusbZd7s How to use Midway | Retro Script Font on Photoshop: https://lnkd.in/evsYrwgs How to use Hellfire Flames | Death Metal Font on Photoshop: https://www.youtube.com/watch?v=Z0MSBYzl9EM&t=35s How to use Rusted Sabbath | Black Metal Font Font on Photoshop: https://www.youtube.com/watch?v=_BTTgnSszsM&t=6s How to use Black Dread | Death Metal Font on Photoshop: https://www.youtube.com/watch?v=cKoSvIEbdZ4 ——— 🔥 Thank you for purchasing our product, hope you like it and have fun with our product. If you have any queries, questions, or issues, please don't hesitate to contact us directly. If you are satisfied with our product, please give 5 stars rating. ——— Happy Designing...😊

New for 2020 Bodoni Ornamental now has two italics to choose from, one basic italic and a second which is more of a true italic with a few uppercase letters that have been stylized. Only one italic can be style linked to the regular upright version so in the second italic we've added Avanti to the name which means forward in Italian. When purchasing the regular upright and Avanti italic together they will install as two separate families. Bodoni Ornamental is a revival of a very old typeface based on the Poster Bodoni letter shape. Giambattista Bodoni passed away in 1813, this decorative version was created in the 1820’s or 1830’s which was the time period when many of these ultra bold decorated type faces began to appear, the original artist is currently unknown. The original version of this ornate classic was only available as a set of uppercase letters, today over one hundred eighty years later this font is now complete with a new lowercase, numbers and accented characters for Eastern, Central and Western European countries. Due to the ornate detail in Bodoni Ornamental when printing itís recommended to use a laser printer 600dpi or greater, a 1200dpi printer will give you the best results rendering the most detail at the smallest possible point size for this font. Small home user Ink Jet printers are not recommended for Bodoni Ornamental unless you set the font to a very large point size. With Ink Jet printers much of the detail in the letters will bleed together as the ink hits the page, commercial Ink Jet printers such as GiclÈe printers may give good results. When using Bodoni Ornamental for digital images including web site graphics it may help to add a one pixel stroke fill around the letters setting color to white or grey, this may help the web site images display better on some computer's. You will need a photo editing application such as Adobe Photoshop to create your image adding the stroke fill and save as a jpg , png or gif file. I hope you enjoy this old font as much as I did making it. Note: When previewing the Bodoni Ornamental font in the Windows font preview you may notice some letters appearing lighter and some darker, this is a problem with the preview window and some ornate fonts, Bodoni Ornamental will print normal and not with mixed light and dark letters.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

An inline adaptation of a distinctive slab serif, Cesium is an unusually responsive display face that maintains its high energy across a range of different moods. The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver. From the desk of the designer, Jonathan Hoefler: I always felt that our Vitesse typeface, an unusual species of slab serif, would take well to an inline. Vitesse is based not on the circle or the ellipse, but on a less familiar shape that has no common name, a variation on the ‘stadium’ that has two opposing flat edges, and two gently rounded sides. In place of sharp corners, Vitesse uses a continuously flowing stroke to manage the transition between upright and diagonal lines, most apparent on letters like M and N. A year of making this gesture with my wrist, both when drawing letterforms and miming their intentions during design critiques, left me thinking about a reduced version of the typeface, in which letters would be defined not by inside and outside contours, but by a single, fluid raceway. Like most straightforward ideas, this one proved challenging to execute, but its puzzles were immensely satisfying to solve. Adding an inline to a typeface is the quickest way to reveal its secrets. All the furtive adjustments in weight and size that a type designer makes — relieving congestion by thinning the center arm of a bold E, or lightening the intersecting strokes of a W — are instantly exposed with the addition of a centerline. Adapting an existing alphabet to accommodate this inline called for renovating every single character (down to the capital I, the period, and even the space), in some cases making small adjustments to reallocate weight, at other times redesigning whole parts of the character set. The longer we worked on the typeface, the more we discovered opportunities to turn these constraints into advantages, solving stubbornly complex characters like € and § by redefining how an inline should behave, and using these new patterns to reshape the rest of the alphabet. The New Typeface The outcome is a typeface we’re calling Cesium. It shares many of Vitesse’s qualities, its heartbeat an energetic thrum of motorsports and industry, and it will doubtless be welcome in both hardware stores and Hollywood. But we’ve been surprised by Cesium’s more reflective moods, its ability to be alert and softspoken at the same time. Much in the way that vibrant colors can animate a typeface, we’ve found that Cesium’s sensitivity to spacing most effectively changes its voice. Tighter leading and tracking turns up the heat, heightening Cesium’s sporty, high-tech associations, but with the addition of letterspacing it achieves an almost literary repose. This range of voices recommends Cesium not only to logos, book covers, and title sequences, but to projects that regularly must adjust their volume, such as identities, packaging, and editorial design. Read more about how to use Cesium. About the Name Cesium is a chemical element, one of only five metals that’s liquid at room temperature. Resembling quicksilver, cesium is typically stored in a glass ampule, where the tension between a sturdy outer vessel and its volatile contents is scintillating. The Cesium typeface hopes to capture this quality, its bright and insistent inline restrained by a strong and sinuous container. Cesium is one of only three H&Co typefaces whose name comes from the periodic table, a distinction it shares with Mercury and Tungsten. At a time when I considered a more sci-fi name for the typeface, I learned that these three elements have an unusual connection: they’re used together in the propulsion system of nasa’s Deep Space 1, the first interplanetary spacecraft powered by an ion drive. I found the association compelling, and adopted the name at once, with the hope that designers might employ the typeface in the same spirit of discovery, optimism, and invention. —JH Featured in: Best Fonts for Logos

We produce original printing press letter fonts, for example from the journal Southern Literary Messenger (circa 1830 - 1870). The only one in the world. What makes our fonts so attractive to the eye, are the myriad imperfections. It's not an approximation to the printing-press letters--- these are the actual letters, complete with all their manifold differences. If you look closely you will notice that the letter 'e' say, each time it is printed, is slightly different. These differences arise from the mechanical action of the inked-wooden press on the paper, and cannot be faked by artificial means. The eye subconsciously picks up this text as the actual printing press letters. Edgar Allan Poe published many of his great works in the Southern Literary Messenger, as did many other great nineteenth century writers, ie. Henry Wadsworth Longfellow, Nathaniel Hawthorne &c.

German designer Jürgen Weltin designed Linotype Finnegan, a modern text design with roots in the humanist letterforms of the Renaissance. As the recognizable direction of movement in writing runs from upper left to lower right, Weltin mimicked this in his design: Linotype Finnegan's up and down strokes end in residual serifs. All of the thick strokes have a taper; horizontal strokes and curves are noticeably thinner than the verticals. This dynamic nature lends a combination of individualness and energy, along with a high degree of variety, to Linotype Finnegan. Linotype Finnegan is a wholly new and unique typeface. It distinguishes itself through its extreme legibility, originality, and formal excellence. Linotype Finnegan makes fun to read longer texts non-stop. However, the typeface never distracts the attention from the text's content by forcing itself too much into the foreground.

Housewife Font that has a distinctive character that is very thick and elegant to use Housewife is a relaxed and flowing Calligraphy Font. Incredibly versatile, this font fits a wide pool of designs, elevating them to the highest levels. Add this font to your favorite creative ideas and notice how it makes them come alive! Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature Multilingual Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu

Lamaesa is a versatile and original design sans serif typeface. Designed to be used primarily on medium and large point sizes. Designed so you do not get tired of reading it, but at the same time, so that you notice its particularity. Oriented for use in headlines and continuous text, with a solid appearance, but with a slight aroma of handwriting, which gives it an ambivalent and original character. It is perfect for magazines, company letters, websites, advertisements, restaurant menus, and any support and function where it is essential to attract attention in an elegant and non-abusive way. Basic Latin characters. It consists of 217 glyphs (ISO 8859-15): uppercase, lowercase, numbers, currency symbols, and special characters. It consists of six fonts: light, normal and bold as well as their oblique equivalents. Carlos Maeso González is the designer of the typeface “Lamaesa”.

Bright Peony is a lovely display serif font to show friendly, feminim, modern nuances. It is truly legible due to its high contrast and simply noticeable forms. Therefore, you can apply this font for any text sizes and lengths. You may also enjoy various features available in this font. Features: Stylistic Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Bright Peony fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The typeface is inspired by our love of old hand-painted signs in butchers, and based on some very quick sketches using a brush pen to find what shapes worked. There is quite a quirky element to the type, as we tried to create the original sketches by rotating the brush pen to reflect the strokes of a paint brush. This lead to a horizontal stressing, which is most noticeable in letters like C, G, S and J. Sidestroke comes in 2 styles, both a standard solid version, and a pre-shadowed outline version. This can be outlined and divided in Illustrator to quickly create an alternate coloured fill for your letters. The lowercase letters have been designed to automatically horizontally align with any uppercase letters, which is a great shortcut when creating logos or other unique type layouts.

The Descent family is a unique, graffiti style, layered type system consisting of a contextual style & a classic style, each with a base fill version & an outline version. Based on a signature category of wildstyles by Graffiti Fonts® lead designer Raseone, this family was designed to be rotated 90 degrees clockwise so that the text reads in a downward direction. OpenType scripting in the contextual version enables up to 12 unique variants of any word using alternating patterns of interlocking glyphs. The classic version does not include OpenType features but instead has initial glyphs as capitals and medial glyphs in the lowercase positions. The characters in the classic version are similar to the more advanced contextual version but noticeably different & a bit more irregular. Glyphs from both styles can be mixed & used interchangeably & both styles have corresponding outline fonts.

Last year, we visited Brazil and we were totally captivated by its cheerful and warm people. Its wild nature is absolutely amazing and very noticeable in textile printing as well as in floral design. That was precisely what inspired us to create some ornaments and dingbats, which we then turned into a single typographic work. The resulting typeface was called Garden , a serif display handmade font with a playful and spontaneous feel. The Garden family offers a font with a set of original “catchwords” (‘Garden Catchwords’, based on brush calligraphy), floral dingbats and botanical ornaments. Please be aware, “Garden Catchwords” is a ‘Catchwords’ font, and does not offer standard AlphaNumeric characters. The OpenType version provides a wide range of creative options. Garden is well-suited for text composition, posters, headlines, label design and handmade-style items. Garden is inspiration, nature and joy!

The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one example of the poet’s personal hands but also as a typical example of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s . It is a “Pro” font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.

Alius is something else. Experimental shapes combined with traditional ones result in an extremely legible typeface that—because of its economically spaced characters—works extraordinarily well for copy texts as well as big striking headings. Alius has been created with great attention to detail which is particularly noticeable in smaller sizes where proportions and shapes remain intact. The Typeface includes stylistic alternates that provide the designer with endless possibilities for combinations and variations. Alius contains PS-Hinting and is therefore as legible on screen as it is on paper. The typeface comes with powerful OpenType features that will satisfy even the most demanding of designers. With more than 680 Glyphs and a coverage of over 130 languages, Alius is as versatile as it is beautiful. The development of the typeface started in the summer and concluded in the fall of 2021.

Raniscript started out as an idea for a bold and strongly structured ronde style script with some contemporary touches. As I tinkered with various forms it took on a life of its own. Having an old world feel, it makes me visualize faded shop signs from India written in English. The name comes from a series of colorful vintage matchbook designs advertising the Flying Rani. You'll find Raniscript ideal for packaging, book titles, brochures or anything requiring a robust display treatment. It comes fully loaded for OpenType savvy applications. Three full sets of caps are included. By clicking the Titling button in Illustrator you can type using an all caps set that includes ligatures, case sensitive punctuation and language coverage. Other features include oldstyle figures, Central European language support, fractions, contextual letter substitution, swash characters, and ornaments.

A grunge-oriented secret code font, Dekapot Deluxxe has mysterious underlines and accent marks that pop up at seemingly random locations as you type. But these morse-code-like dots and dashes are not random at all, they're simply attached to the preceding letter to make things seem more cryptic than they really are. Get it? Originally released as a Chankstore freefont back in the '90s, Dekapot (translated from the Dutch as "the broken font") has a newly bulked-up character set to add functionality and professionalism to its all caps display nature. These are fresh new versions of this font, made to replace prior versions formerly known as Dekapot Masss and Dekapot Deluxxe. Poke around a bit and you'll find new glyphs for Central Europe and a new Cyrillic character set in there, too. OpenType users get DEKAPOT-PRO with lots of language support. Special Mac PostScript and Windows TrueType is available for the individual Regular or Cyrillic version.

Stop trekking through the thick, wintery font forest, and step lightly into the fresh life of the Haboro hyperfamily. Though simple in nature, the Haboro hyperfamily provides you with a variety of options. Take, for instance, Haboro Soft, the latest member. Soft features a clean, geometric shape based off Haboro Sans. Unlike Sans, however, Soft’s blunted terminals give your work a more contemporary appearance. It’s a gentle touch for those times you prefer subtilty over pounding your message home. Take Haboro Soft even farther with its OpenType features. The typeface contains specially shaped small caps and old-fashioned figures--just enough to give your work a unique touch. Of course, for more options, use the entire Haboro hyperfamily to expand your abilities. Enjoy the comfort in knowing you’re choosing a font family equipped with tools for most anything: packaging, branding, web pages, iPhone apps and more. Its simplicity lends itself to achieve perfect results. And yes, your work will even thank you.

A long lost Art Nouveau wood type from the Hamilton Museum Collection evokes the excesses of Victorian design and the equally quirky 1960s Psychedelic era revival of the Victorian type styles. Free flowing organic designs that flourished with Art Nouveau in the late 1800s were directly referenced and further distorted with with phototype in the late 1960s. This design, known as Arabesque, was produced by the Morgans & Wilcox Co. and the Wm. Page Co. as almost identical designs. Both manufacturers were acquired by Hamilton and offered briefly by Hamilton as design #618. This curious wood type defies most of the basic tenets of type design and what comes to mind when one thinks "wood type". Many characters have a lively eccentricity that were all left true to the original design. Additional characters were designed to fill out the standard range of characters found in digital fonts. This font includes over 280 characters for full unicode support of Western and Central European Latin characters.