The joy of pure geometry, revisited. Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. To further reduce the rigidity of a purely geometric composition, you can replace some letters with more humanist alternates, such as a, g, j, etc. This font family comes along in 8 weights from Thin to Black. Each weight consists of an Upright and Italic version. There are more than 750 characters per style, including two stylistic sets that offer variations to the look and feel of Flink, making it even more versatile. Plenty of additional Open Type Features like ligatures, case sensitive forms, old-style figures, and symbols make Flink a valuable tool for the discerning typographer. Flink is the reimagination of a classic genre, designed to suit the needs of our time. ––––– Please note: There is an upgraded Version available: Flink Neue

Extraordinary impact and visual conspicuousness. Poipoi is a super 3D sans family for posters, logos and all display. The basic idea is not a brand new. The Stacking type system has been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each color. Poipoi uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layer. Poipoi "Standard" style is the base of this font family. You can add effects by stacking Highlight and shadow layers. Stacked layers in different color make the text in 3D. Instruction 1. Type your text as you like. 2. Set font-name "Poipoi" and font-style "Standard" 3. Set color of "Standard" layer. 4. Duplicate the "Standard" layer twice (One for Highlight, one for Shadow). 4'. The layer order should be Highlight, Standard, and Shadow from top to bottom. 5. Set font-style and color of "Highlight" and "Shadow" layers. 6. Adjust tracking if you need. (Please use same tracking value for all 3 layers.) For further detail, https://www.dropbox.com/s/xymis7dh5hwxn9q/Poipoi.pdf Poipoi Standard, Highlighted, and shadowed style can be used solely. Rounded terminals add soft, cute, and casual impressions to your design. Spec: Over 400 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Can we get a drum roll please? It’s not every day that a new link in a best selling chain is forged. First, there was Nanami, a font which took the world of type by force, storming to the top of MyFonts Hot New Fonts list; then there was Nanami Rounded, the most successful follow-up since Terminator 2. Well, say Hasta La Vista to boring design because now, there’s Nanami Handmade. With all the geometric, Japanese inspiration and style of the first two iterations, Nanami Handmade carries a quirky, mischievous charm. The font has a charisma matched by roguish anti-heroes; bad guys you love to love and good guys the other good guys hate, but everyone knows they’re what the audience turns up to see. Nanami Handmade comes in two styles, a solid and a hand-drawn, each of which has eight weights. Mix and match between these options to create a balanced piece which makes good use of the tactile, warm, earthy nature of the font. With these sans-serif styles working well in small and large sizes, both on and off screen, Nanami Handmade’s applications are virtually endless. Get your own piece of typography’s elite now, with Nanami Handmade, by Thinkdust.

Are you having trouble finding a perfect font for your projects? Using an inappropriate font will only show unprofessional, uninteresting projects and leave bad impressions to the audience. Therefore, let us introduce you to our script font to help you create lovely, unique, prominent designs. This is Sweet Jasmine. Sweet Jasmine is a handwriting-like script font created with mixing the natural handwriting elements with natural nuances to produce warm, flowing-looking designs. Its letters are interconnected in high contrasts, and it is suitable to apply for big text sizes because it has somewhat complicated font style details to ease the font to read. In addition, you can enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Sweet Jasmine fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

It can be a time-consuming, difficult process to find an elegant font to present classic impressions to your audience despite the abundant options available for you. Moreover, it takes the risks to disappoint and to leave bad impressions to your audience without having the right font. Therefore, let us introduce you to our serif font, Recolor. It is a capitalized serif font to help you create elegant, classic nuances on your designs. Our serif font has tiny lines to add formal, professional touches on each quality, consistent letter to ease the reading process. However, such capitalized font designs are eligible to apply for big text sizes for a legibility reason. Additionally, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Recolor fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Optimum readability in small bodies with scarce interlining, under poor printing conditions such as in newspapers, where velocity and bad quality’s irregular surface papers, truly distort strokes was the challenge taken. Pobla was designed with this in mind, hence Patau present a hybrid between the conventional strokes of a serif’s classical roman type and markedly “fractured” forms inside, providing a unique personality to this typographic family, where calligraphic’s humanistic axis is visibly broken with the straight axis of the fabricated letters. Subtle details in the serifs, give it a modern look to a classic skeleton. Very pronounced ink traps get the shapes rounded in the printed product to artificially increase the average medium-eye and promote reading in the small sizes it was designed for. An absolutely handwriting look for the italics, where the rupture of the stroke marks a white’s subtle change to only whisper in the printing surface a slight difference, but without fuss and so not to break the rhythm of reading. And as we are used to, a complete set of OpenType features, where you will find small caps, fractions, ligatures, old numerals and tabular, discretionary ligatures and support for 220 languages; and all available in twelve weights to meet the needs of any newspaper printing.

If you need a typeface suitable for the most elegant and hard work, you will fall in love with Schotis family, your true Scotch Roman style workhorse. Schotis Text is designed for perfect reading on running texts, leaving the setting of big sizes for Schotis Display. Each optical size family has seven weights plus matching italics, with 1100 glyphs per font. With a very extended character set for Latin based languages including Vietnamese, Schotis shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. Schotis family is based in Scotch Roman style but designed from scratch, with a more contemporary and not nostalgic look. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions.

Press Gothic is a revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake's Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s. Just like its inspiration, Press Gothic aims to be a fresh alternative to big economical poster fonts with clear sans serif forms and an urgent, strong, yet elegant design appeal. In the summer of 2008, Press Gothic underwent a major linguistic and aesthetic reworking for an international publishing company. The result of this on the retail side are new small capitals and biform/unicase additions to the main font, as well as expanded language support that includes Cyrillic, Greek, Turkish, Baltic, Central and Eastern European, Maltese, and Esperanto. Press Gothic Pro, the OpenType version, combines all three fonts into one, taking advantage of the small caps feature, and the stylistic alternate feature for the biform shapes.

Anna Gagarin is the loving matriarch of the Gagarin Family. Her life was full of love and passion. She had several affairs with Futurist and Contstructivist artist in the beginning of the 20th century. She was in love with the Russian poet Vladimir Majakovski (born on July 19th, 1893 and died in Moscow on the April 14th, 1930). She gave birth to his son Boris. She called him 'a cloud with trousers'. After this love story, Anna Gagarin met the designer and artist Gustav Klucis in Italy. His radical and political ideas were much too childish for her. After a period of love and passion Anna gave birth to his son. At that time they were in Italy, which explains his italic forms. After her return to Moscow in the beginning of the 1920's Anna was introduced by Alexander Rodchenko. They were heavenly in love but Ilja Stepanova was very jealous on her husband. Anna once said that 'Alexander fills mine construction with love...' That phrase can be an explanation for the term Constructuvism as an art movement. Alexander was the great love of Anna. She gave birth to their love-baby Dimitri Gagarin. That night Alexander designed his most famous poster. A decade before that Anna told it was
'a time for a change'. In a local bar in Sint Petersburg she met Gregory Rasputin. At that time Rasputin was a well known person and a respected member of the Sint Petersburg upper class.His diabolic character influenced Anna and after several months she gave birth to their son Kurt. He inherited the main characteristics of his father. The Gagarin Family wants to give love and wants be loved...

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor. Thirteen years later, FontHaus came across another little known typeface treasure: Diane. Designed by the legendary French designer Roger Excoffon in 1956, this remarkable script has never been faithfully recreated until now. In close collaboration with Mark Simonson, FontHaus and Mr. Simonson painstakingly researched rare type books, publications, European metal type services, and period showings from the United States, England, Germany and from the University of Groningen in the Netherlands. Finding full specimens of the font turned out to be quite a challenge. In most cases, only the caps and lowercase were shown. Furthermore, the more we researched Diane, many curious facts came to light. The caps in earlier specimens of Diane are completely different from specimens published later, suggesting that the face was redesigned at some point, perhaps in the mid-1960s. So we are left with two different sets of caps. The original had very elaborate, swirly strokes, very characteristic of Excoffon¹s gestural designs for posters and logos. Later on, these appear to have been replaced by a set of simpler, more traditional script caps. The original caps are criticized in one source Mark found (Practical Handbook on Display Typefaces, 1959) as being "exquisite" but "not highly legible". Perhaps this is what led to the simpler caps being introduced. Nevertheless, FontHaus's release includes not only both sets of caps, but a range of alternates and a number of new characters not originally available such as the Euro, and a magnificent alternate Ampersand to name a few.

"Fashion Experiment" is an all-caps handwritten display font featuring a funky and expressive gel pen-style that is perfect for creating impactful header text, poster designs, album covers, product designs, and merchandise. The font's unique and playful appearance is crafted to maintain an authentic look, with alternative letters and ligatures adding to its creative potential. The font includes alternative letters and ligatures coded for uppercase letters. The font also features more than 100k kerning pairs, ensuring optimal precision and readability. To maintain the authentic appearance of ligatures, this font was crafted from the handwritten text. However, as ligatures that complement one combination of letters may not work for another, it is essential to have the option of switching to alternate letters or avoiding the use of ligatures altogether. The frequency of use for certain letters varies, resulting in some letters having more alternates than others. For example, letters such as A, E, L, M, S, and T are more commonly used than letters like X, Z, and Q, which explains the difference in alternate options. We recommend using programs that support OpenType features to fully access the font's features. This will allow you to access glyphs directly on the same panel without copying/pasting each glyph. Additionally, the OpenType panel allows you to turn on standard ligatures, which can automatically change letters for available ligatures. Even if you are using a program that does not support OpenType, you can still access the alternates and ligatures of this font through Fontbook or Character Map, as the glyphs are PUA-encoded. However, please note that you will have to copy and paste each ligature or alternate individually, which can be time-consuming and require extra effort. Happy designing, Gulya

The idea for Quirky was born while I was looking at a book of etchings by British artist Graham Clarke. His signature, crawling spider-like across the page, fascinated me with its casual, almost messy, inky dark and light drama. I started scribbling the alphabet as I imagined he would write it, based on his signature, then continued, adding curls, making the characters more angular, and refining the dramatic play between dark and light. Finally, Quirky appeared. Apparently casual, Quirky is, in fact, a true connected script. Quirky is characteristic of contemporary handwriting: It appears loose, angular, unstructured, and free, while maintaining good form and legibility. Its baseline is varied, creating an impression of impatient handwriting, without losing legibility. Quirky comes in five styles: condensed -- the most dramatic form, with great drama between thick and thin condensed black -- as with condensed but allows the user to provide exceptional emphasis wide -- increased readability wide black -- increased readability and emphasis splat -- messy and ink-blotted -- a hint of grunge Use Quirky for advertising, for humorous greeting cards, for a funky fashion look or tongue-in-cheek spooky media. Quirky is a fully professional font with extensive use of OpenType Ligatures. For example: most common double letter combinations such as "ee" are rendered as two, slightly different shaped "e"s. This variation in letter shapes removes the cues by which the reader identifies that he is viewing a FONT and thus conveys a strong sense of hand-lettered text. Language support includes all European character sets and has been designed to be used with the following languages: Afrikaans, Albanian, Basque, Bemba, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Ganda, German, Icelandic, Indonesian, Irish, Italian, Kinyarwanda, Luo, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Sango, Shona, Somali, Spanish, Swahili, Swedish, Swiss German and Zulu.

Inject some irresistible fun into your designs with the Mellow Morning Font Duo! This playful font duo consists of a fast flowing signature script, and a charming small caps font as the perfect companion. But that's not all - also included is a bonus doodle font containing 45 hand-drawn doodles - designed to add an eye catching, hand-made appeal to your Mellow Morning fonts. The Mellow Morning Family includes; Mellow Morning Script • A clean, free-flowing handwritten signature font containing upper & lowercase characters, numerals, and a large range of punctuation. Mellow Morning Script Alt • This is a second version of Mellow Morning Script, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Mellow Morning Small Caps • A clean, charming handwritten all-caps font. Contains 2 sets of a-z letters, simply switch between upper and lowercase to toggle between both sets. Also includes 8 stylised letters for extra flair, accessible via a Glyphs panel or by switching on Stylistic Alternates. Mellow Morning Small Caps Italic • An italicised version of Mellow Morning Small Caps, which can be used for a more fast-hand flow to your text. Mellow Morning Doodles • A set of 45 doodles designed to pair with the Script & Small Caps fonts. Simply install this as it's own font, and type any A-Z or a-s character to generate each doodle. Language Support • All Mellow Morning fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Another typical Art Deco font from Nick Curtis. Uppercase only, but with alternate letterforms in the lowercase positions. I have completely redesigned all the diacritics (which were way too flimsy for this robust design) before expanding the character set in the usual fashion. Nick Curtis says: "Back in the Olden Days of Graphic Design B.C. (before computers), type freaks used to wait in anxious anticipation for each new release of the Letraset catalog. The inspiration for this font, Premiere Lightline, was one such release, and probably help spur my interest in Deco designs. The original font was VERY light indeed, suitable only for use in large sizes. My version is beefier, and includes an entire lower case of alternate letterforms, making this (at least) two fonts in one. The name is the 40’s hep talk equivalent of “Cool!”". 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.

Any typeface has two intrinsic elements that does´t work at the same levels, form and appearance. These peculiar visual behavior generate a wide range of graphics games. At reading level, we observe a uniform gray spot, but large bodies allows us to appreciate their shapes and counterforms. Milio takes this duality to offer unparalleled service in newsprint and magazine publishing, specially in small bodies but hard and formal cogency in titling. Its wide variety of weights, 10 in total, together with a slight condensation allows us to save space without losing legibility, even under poor printing conditions. Its basic quasi humanistic forms include support for a wide range of details that give great originality and strength. A friendly appearance, but a strong, all-road typeface with internal forms that reinforced visibility in small sizes thanks to its high average eye and the contrast that generates its soft curved external and internal squared angles. The nuances here are fundamental and explain its powerful large sizes, where you can see these contrasts between the curved, organic, humanistic, and straight, angled, almost mechanical shapes. Milio has the bonus of a large multilingual support for all alphabets based on the Latin and Cyrillic, as well as large Opentype features for expert users, among which we have true small caps, ligatures and automatic contextual alternates. Several sets of numerals for use on tables and other “delicatessen” as fractions are also included. Having in mind the daily struggle in newspaper and magazines´ edition, Milio has been designed with the idea of being Cinta´s perfect couple, a similar contrast and proportion typographic san serif family produced by the same Foundry as Milio, to cover almost all the graphic needs in actual DTP.

The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives. While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms. The flowing rhythm, achieved through a letterform axis that is overall slightly rightward, is most noticable in the hallmark f and long s. Round forms are fused together for economy of space. It is a writing hand that, with its syncopation and fluidity, produces a vibrance uncharacteristic of other blackletters. Givry has been created in the spirit of the bâtarde flamande. It melds the particular traits compiled from the works of the style’s prominent scribes—Jean Fouquet, Loyset Liédet, and Jean Bourdichon. While suitable as an elegant and energetic display face, Givry was conceived for setting continuous text. The result of many refinements and adjustments is the preservation of the style’s irregular nature, as well as a consistency that continuous-text typography requires. Carefully researched and developed in OpenType format for a wealth of typographic features and support for more than forty languages, Givry is neither derivative nor experimental, but historically accurate. Of the many blackletter digital typefaces available, fraktur and all its connotations have become representative. In contrast, the bâtarde flamande is essentially non-existent in digital form, and has until now been overlooked. Givry provides designers and anyone searching for typographic expression a lively, delicate, and striking side to blackletter.

The typeface PIXEL pattern is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired in the past and present. 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) with 830 glyphs (Adobe Latin 3) incl. 100+ decorative extras like icons, arrows, German Capital Sharp S, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: PIXEL pattern ■ Font Styles: 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.ttf (for Print) + .woff (for Web) ■ Glyph Set: 830 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

Dedicated to the XXII summer Olympic Games. I was inspired by the icons of these games when creating font Olymp80. This is an excerpt from the official report of the Moscow Olympics: "Sports pictographs, as we know, are pictographic drawings symbolising sports. They serve as points of reference and help overcome language barrier. Over the past few years, they have been integrated into the decoration of Olympic cities, and have been depicted in Olympic posters, commemorative medals, postage stamps, tickets, souvenirs, etc. On the OCOG-80’s request, graduates from several art colleges took up the design of the pictographs of the insignia as the theme of their dissertations. With the help of the research institute of industrial aesthetics, the Organising Committee chose the work submitted by Nikolai Belkov, Mukhina Art School graduate from Leningrad. The State Committee for Inventions and Discoveries under the USSR Council of Ministers recognised the new design as a production pattern. Though highly stylised, the new signs are easily comprehensible. They are smoother in outline because they are constructed at an angle of 30-60 (previously the angle was 45-90). Another merit of the new system is that the designs can be adapted for use in four representations: direct (solid, black against a white background), reverse (solid, white against a black background), contour (black contour against a white background), and reverse-contour (white contour against a black background), and permit several colour and shade and size variations." All text and pictures you may see on 1980 Moscow, Volume 2, Part 2, Page 420. Monospaced font for names, logotypes, titles, headers, topics etc. Font includes only uppercase letters with two alternative designs for each letter.

The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

Schotis Text is a workhorse typeface designed for perfect reading on running texts. Its design is based in Scotch Roman 19th-century style but designed from scratch, with a more contemporary and not nostalgic look. It has seven weights plus matching italics, with 1100 glyphs per font, with a very extended character set for Latin based languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In fact, they were called just Modern. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions. The name Schotis comes from the misspelling of Scottish that gave the name to a popular dance in Madrid in the 19th-century. It first was called Schotis and today is knows as Chotis.

“Hand Stamp Play Rough Serif” is a rough and dirty serif Font with authentic & real stamp look. Original Hand Stamped. A–Z, a–z, and 0–9 are each 3× different forms (every letter/glyph has two additional alternate characters) and is intended to show the hand-made nature and the vibrancy of the display font. The different pressure (velocity) of the stamp on paper creates a liveliness in the typeface. Ligatures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffj, ffi, and additional logotypes like and, the, by, tel fax, web, www … and a Versal Eszett (Capital Letter Double S) give the Font more life and shows that despite their retro-looks works with modern OpenType technology (from ❤ love is, from luck will ✤ … ). Replacing the glyphs “E” instead of “3” to convey that typeface invites you to play. It is the desire to experiment and promote uninhibited experimentation. A variety of alternative letters and a few glyphs follow her own head @, &, ₤, £, “,”, * … The typeface has its quirks and downright human characteristics to “just love.” Have fun with this font – Just Stamp It. Application Area The serif font works best for head­line size. Logo, Poster, Edi­to­rial Design (Maga­zine or Fan­zine) or Web­de­sign (Head­line Web­font for your web­site), Web­ban­ner, party flyer, movie pos­ter, music pos­ter, music covers … How To Use – awesome magic OpenType-Features in your layout application ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Technical Specifications ■ Font Name: Hand Stamp Play Rough Serif ■ Font Weights: Regular, Bold ■ Fonts Category: Display for Headline Size ■ Desktop-Font: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph coverage: 617 ■ Language Support: Albanian, Alsatian, Aragonese, Arapaho, Aromanian, Arrernte, Asturian, Aymara, Basque, Bislama, Bosnian, Breton, Cebuano, Chamorro, Cheyenne, Chichewa (Nyanja), Cimbrian, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Fijian, Finnish, French, French Creole (Saint Lucia), Frisian, Friulian, Galician, Genoese, German, Gilbertese (Kiribati), Greenlandic, Guarani, Haitian Creole, Hawaiian, Hiligaynon, Hmong, Hopi, Hungarian, Ibanag, Iloko (Ilokano), Indonesian, Interglossa (Glosa), Interlingua, Irish (Gaelic), Islandic, Istro-Romanian, Italian, Jèrriais, Kashubian, Kurdish (Kurmanji), Ladin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgian, Malagasy, Maltese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Northern Sotho (Pedi), Norwegian, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Rhaeto-Romance, Romanian, Romansh (Rumantsch), Rotokas, Sami (Inari), Sami (Lule), Samoan, Sardinian (Sardu), Scots (Gaelic), Seychellois Creole (Seselwa), Shona, Sicilian, Slovak, Slovenian (Slovene), Somali, Southern Ndebele, Southern Sotho (Sesotho), Spanish, Swahili, Swati/Swazi, Swedish, Tagalog (Filipino/Pilipino), Tahitian, Tausug, Tetum (Tetun), Tok Pisin, Tongan (Faka-Tonga), Tswana, Turkish, Turkmen, Turkmen (Latinized), Tuvaluan, Uyghur (Latinized), Veps, Volapük, Votic (Latinized), Walloon, Warlpiri, Welsh, Xhosa, Yapese, Zulu ■ Specials: Alter­na­tive let­ters, Ver­sal Eszett (Ger­man Capi­tal Sharp S), symbols, dingbats, digits, accents & €, incl. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Nume­ra­tors (numr), Ordi­nals (ordn), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Super­script (sups), Slashed Zero (zero) ■ Design Date: 2014 ■ Type Designer: Manuel Viergutz

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

Ramolina Script is an elegant calligraphy script font that comes with lovely alternates character. a mixture of from copperplate calligraphy with handlettering style. Designed to convey style elegance. Ramolina is attractive like a smooth, elegant, clean, feminine, sensual, glamorous, simple and highly legible typeface. Its classic style is perfect to be applied in any type of formal pieces such invitations, labels, certificate, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, badges etc. Ramolina Script features 400+ glyphs and 200+ alternative characters. including multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, that allows you to mix and match pairs of letters to fit your design. 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. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail "megatype04@gmail.com" Thank you for your purchase & Happy Designing!

Fadista is an eccentric experimental typeface, inspired by the Portuguese fado music and letterings by the artist Stuart Carvalhais (1887–1961), created throughout the 1920ies and 1930ies. A strong and clean presence with a touch of quirky gives the typeface its overall character. Fadista includes various OpenType features that allow tailoring the type to custom needs, encouraging graphical exploration. Fadista is the result of meticulous research, graphic reinterpretation and systematization of the glyph palette, taking into account modern font standards. Balancing between a historic heritage and „hipster“ contemporary looks, Fadista represents a discourse about aesthetics, trends and currentness in graphic design. The stylistic variations of the glyphs in fadista work in an additive fashion, rather than completely altering the look of the typeface. This means that a basic framework of glyphs remains unaltered, while certain subgroups of characters are affected by the style choices. Through this behavior, stylesets in fadista work as a switch for the type of contrast you’d like entwined in the overall look of the typeface. Other unique features include stylistic alternates for specific glyph combinations, ligatures that allow internal character spacing and tiny diacritics that flow within cap height along normal height glyphs. Please note the lowercase characters within Fadista are uppercase alternates. Math operators are fully supported, as well as a wide range of symbols and punctuation. Supported Languages: Albanian, Danish, Dutch, English, Finnish, French, German, Icelandic, Italian, Malagasy, Norwegian, Portuguese, Romansh, Spanish, Swedish and Turkish. For further language support don‘t hesitate to get in touch. Fadista was awarded the Art Directors Club Bronze in the junior competition 2014 and the DDC Award 2014 in the category "Future“.

Make your own retro design with Lettro Font! Lettro is an exquisite bold script typeface inspired by the retro design from 70-80-ish. Lettro is created with a ton of stylistic alternates, swashes, and ligatures, and also comes with 5 total Layered fonts: Regular, Extrude, Extrude Outline, Double Extruded, and Double Extruded Outline. Perfect fitted layer to give you more contrast, more bold look of the title. Every glyph for alternates is curated for the best and possible without eliminating the characteristic of these fonts! Combine that many styles and create an awesome retro design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Lettro features: A full set of uppercase & lowercase characters Layered Style Numbers & punctuation Multilingual language support PUA Encoded Characters OpenType Features +563 Total Glyphs +212 Stylistic Alternates +49 Ligatures +47 Swashes and more (Shiny and Spray Effect Included!) ——— ⚠️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 alternative, 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 Happy Designing...😊

A few emails sent to Canada Type have asked for more “bad scripts”. A few others asked for "more Mascara-like treatments". And some asked for more fonts of “distressed elegance”. Whatever you like to call this style of doubled-script font, sightings of designs using it have become common within the last few years. Such fonts have become the standard in expressing elegant confusion, old chaos in modern settings, recycled histories, and rebellious ideas. This style is quite often seen on chic clothing, music packaging, some sports paraphernalia, surfer and skateboarder gear, even book covers. That said, the Heathen font was made to include an advantageous feature that other distressed scripts do not normally have: More intertwined over-swashing in the majuscules. This over-swashing is quite useful in settings where the stroke and fill colors differ, or complement each other. It is also quite the point of emphasis where the idea is to show elegance gone ancient, old thoughts in a modern wrapper, rust never sleeping, or the very basic limits of the world’s nature. The original Heathen was made by redrawing Phil Martin’s Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scroll’s lowercase atop a pre-release version of Sterling Script, yet another Canada Type font. Heathen Two was made in a similar way, by combining two pre-release Canada Type scripts.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Ashemore developed as a result of my visits to Barcelona, Spain and to Germany, followed soon after by a visit to Asheville, North Carolina. Blending the styles of art and architecture from these three areas may seem initially to result in an unusual formula, but the distinct and flamboyant style of Art Nouveau and the Arts and Crafts style combined with the more strict rules of a sans serif transfer well into a beautiful and very usable blend of these individually eccentric forms. The resulting font retains the Art Nouveau and Craftsman style flavors, which shine through the typeface despite its geometric base. One of the font’s defining characteristics is the unique terminators of its C, G and S. This face’s texture and rhythm also moves well in longer texts. These and other features give Ashemore a restrained bohemian vibe that seems particularly appropriate for a coffee house or an art gallery. The Ashemore family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980's. Many of these sleek logotypes are lacking an expansive family to enhance and express their brand in a richer sense, becoming true brand workhorses. The Aspire SmallCaps family finds its origin of inspiration in the ACURA automotive company logo, and from there expands to an 6 font family of weights & oblique styles, striving to become a workhorse. Aspire 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 SmallCaps Family bundle: - 438 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 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

Basel Neue is the complete redesign of BaselSans ITD font, the first typeface of Isaco Type foundry, launched in 2009. As with the predecessor version, Basel Neue is a legible and discrete typeface, a sans serif with thickness variation and humanistic touch. The family consists of 8 styles, 4 weights plus their respective italic versions. Download the “OT Features” pdf to know and take advantage of all font features as best as possible (in OpenType-savvy applications)! You can also view all symbols in the glyph panel of your program, or in Character Map tool (Win) or Character Viewer/Palette (Mac). 1) Basel Neue has ligatures strategically chosen. Herbert S. Zim, in the book “Codes and secret writing”, elected the most common letter pairs of English, that in the Basel Neue became discretionary ligatures. And, of course, it also has standard ligatures. 2) It’s a fun typeface. Basel Neue has a set of emoticons and fun symbols that can be activated by discretionary ligatures. Type “:-)” and a smileface appears. Type “8-)” and a smiley with glasses appears. Type “ ”, “ ” and “ ” and a telephone, star and heart appears. Or “ ”... and a graceful corresponding symbol will appear. 3) Basel Neue contains lots of useful glyphs and features. All versions have 12 recycling symbols, 7 to different types of plastic, and over 30 currency symbols. It also has fractions, old style-, lining-, tabular numbers and other OpenType features. 4) It has an organized and large character set. The fonts have extended character set to support CE, Baltic, Turkish as well as Western European languages. If you work with languages ​​like Catalan, German, Croatian, Romanian, Dutch, Turkish, for example, the font will use the correct ligatures or characters used in these languages. 5) It’s rigorously tested. Basel Neue is available in OpenType PS e TT flavors and each version undergoes a battery of tests, with a systematic review of nodes, curves, spacing and internal data. This eliminates the possibility of errors in the font.

CA Saygon Text is the logic consequence of CA Saygon. It is much calmer and therefore also suitable for reading texts and everyday’s editorial tasks. Basic shapes and proportions were adopted from Saygon and continued in such a way that a font family from Thin to Extrabold resulted. A fundamental inspiration were early static grotesque typefaces such as Akzidenz Grotesk. Nevertheless, the typeface was by no means intended to have a historical look. Thus, a relatively high x-height was chosen, which makes the typeface quite economical in type-setting, since the letters appear visually larger. A relatively small line spacing with good legibility can be achieved due to the small ascenders and the low cap height. Letters like f and t, which otherwise tend to end in curves, were given right angles, which on the one hand meets certain design elements of the original Saygon, but on the other hand also refers to contemporary trends in typeface design. A special feature are the five styles in which CA Saygon Text can be used. The default setting is the Helvetica style, with two-storey a and g. The Futura style has a single-storey a and a two-storey g accordingly. The third style with two-storey a and three-storey g is called the Franklin style. But the real highlight is the Cape style with single-storey a and three-storey g – a real rarity up to now. Let yourself be inspired by this unusual typeface. If you like it even more progressive, you should try the flat style, which continues the right angles in a, g, and y as well. Thanks to the Cyrillic and Latin Extended character sets, a huge linguistic area is covered that even extends to Vietnam! Even the exotic German capital-double-s is available and appears automatically when typed between other capital letters. Numerous OpenType features make life easier for the professional typographer: there are fractions, superscript and subscript numbers, as well as proportional and tabular capitals.

Musical notes and letterforms, silences and white spaces, pentagrams and lines, music and writing have much in common and go beyond time, cultures, styles and locations. This new typeface emerges from the blend between the lyrics and the harmony, rhythm, femininity and luminosity of the traditional musical forms. It`s not about blues or rock, tango or salsa, instead it recovers the neoclassical characteristics of the current musical notation system and revitalize the essence of its signs. Taking care of both the function and the form, Elisetta has been specially designed for the writing of texts and musical sheets considering all its elements and communication needs. This source of inspiration also makes the font really good for extensive texts, since its design is based on situations that require high line performance, great readability and high aesthetic coherence. With 5 variables that vary in weight and style, the typography gathers asymmetry and organic nature in vertical structure, narrow horizontal proportions, high x height and extreme contrast between black and white. Elisetta Book has been created for the writing of clear texts and long lines composed in small sizes inside and outside the pentagram; Elisetta Italic intensifies the organic nature of the musical keys by offering softer signs, contextual alternates and initial caps; finally, Elisetta Display increase and emphasize the contrast between vertical stems and horizontal lines to highlight short texts and titles. For those who love music and for those who like romantic forms, this typography has a lot to offer: Elisetta is the best option to write light words with style, compose clear and rhythmic lines and read comfortable paragraphs with high performance. You can tell everybody this is your font, how wonderful life is while you're in the world! * This typeface was originally designed and supervised as «Elisa», the main project of the Master in Typography at University of Buenos Aires, Argentina.

Step back into the 1990s with Gameness, the font that embodies the spirit of the era’s gaming culture. Inspired by the Game Boy box art for Final Fantasy Adventure, Gameness evokes a sense of nostalgia while still looking fresh and modern. But this isn’t just any retro font. Gameness is sleek and sophisticated, with a narrow elegance that sets it apart from other throwback designs. Its tall letters are perfect for headlines, logos, and branding materials, giving your projects a bold, confident look. For clients who demand only the best, Gameness comes with an alternate barred “A”, adding even more versatility to your designs. And in OpenType-enabled applications, the “S” shape subtly alters to match the adjacent letters, ensuring a smooth, harmonious look every time. So why settle for ordinary fonts when you can make a statement with Gameness? Download it now and bring a touch of retro cool to your next project. 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.