Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. For instance, in the Arabic variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. In the case of the Latin a part from having an entire alternate basic alphabet, there are also different letterforms for characters with diacritics, this way variability becomes even greater. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, in the Arabic, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. This is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The Arabic has a wide range of ligatures that enhance movement and fluidity in text making look text alive, while the Latin achieves this same effect via contextual alternates.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. For instance, in the Arabic variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. In the case of the Latin a part from having an entire alternate basic alphabet, there are also different letterforms for characters with diacritics, this way variability becomes even greater. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, in the Arabic, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. This is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The Arabic has a wide range of ligatures that enhance movement and fluidity in text making look text alive, while the Latin achieves this same effect via contextual alternates.

Well lookee here: an authentically distressed "rough" version of our best-selling Cornhusker font! Standing tall as an Illinois cornfield in September, Cornhusker Rough is a faux-printed, condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & inky characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Rough is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Rough includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. Please note: Cornhusker Rough features a highly detailed, realistic inkplate texture. This font may render slowly in some applications. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

Goodwater is an original collection of a Brush, three weights of a monoline Script and four weights of condensed Sans typeface. Goodwater also has a “Print” version with rugged outline and worn-out texture of each font. Goodwater is a great pack for any display use from online to logo and from headline to packaging. All the styles are designed using the same proportions and soft corners so that they’ll place nice together. All Print versions have the same texture style and size too so that they’ll fit smooth together. Goodwater Script and Brush fonts are equipped with automatic Standard Ligatures and Contextual Alternates to keep the flow smooth and it’s best to keep those features on.

Being a geometric sanserif ocr-t comes in eleven weights from ultrawhite to infrablack (brightwhite, white, silver, lightgrey, grey, darkgrey, anthracite, black, jetblack). With more than 600 glyphs it covers all your typographic needs and manages to stay at the same place no matter which width you’re using. Its readability and legibility is more than fine although it needs no kerning. The infrablack is really black, in order to achieve this, the form of letters change from darkgrey to anthracite from upright to some kind of upright italic. This also gives opportunity to mix two weights with same colour but different architecture. Find also stylistic sets, alternate letters, lots of bullets, different arrows, hands and well: kind of hearts.

Welcome to my Geometry Pair. Introducing two fonts Forma & Structure that will make you happy. One of them is a compilation of shadow-based symbols like silhouettes. Another one has a rock of glyphs that don't repeat each other, but looks in the same style. Surprisingly they fit to each other and you can mix them in your works, be it print or web design. Make your graphic works more stylish that highlight your uniqueness from other. Just wonder people who loves funky design and who respect tiny details. Now you have opportunity to grab them both at the same time! There are all caps fonts kerned with microscope with multi language support.

The three fonts in the Prescott series are re-creations of 19th century favorites with an Old West flavor. The town of Prescott was the capital of Arizona Territory from 1864 until 1912, when Arizona was admitted to the Union, and the capital moved to Phoenix. In 1986 Page Studio Graphics started its digital foundry in Arizona. The fonts are thoroughly pair-kerned, including all accented characters. Auto-kerning should be turned on in your application program. The font packages include both TrueType and PostScript versions, and are available in either PC/Win or Macintosh format. In order to avoid serious problems, be sure not to install the same fonts in both TrueType and PostScript on the same computer.

Thick is the perfect font for all your fun designs and also for Halloween decorations. The main font file is equipped with ordinary characters, as well as more than 350 glyphs to support most Latin-based languages. Everything is made with the same brush, and everything is the same size as Thick, so you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs. Thick feature: - More than 350+ glyphs - Fully coded PUA for full access to all characters - 19 languages ​​support

Mr Dodo is a hand drawn typeface family with eight styles. Four weights with a rounded version for each one. It has uppercase and lowercase characters with up to three alternate glyphs. Each style was drawn separately. We did not interpolate any glyphs to keep an irregular, organic feeling. This way you can combine different styles without worrying that same characters will look like a awkward copy when standing close to each other. It has build in OpenType Contextual Alternates feature that will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t just throw random glyphs.

Alterglam is one of my all time favorite fonts, although I didn't think so at first. The font appeared as a modification of my other default font. But over time, the font turned into an independent work. Moreover, the font began to live its own life and constantly demanded attention. So at the same time the Alterglam font is the most thoughtful and polished font in my collection. It is my pleasure to present this wonderful font set for exquisite designs. In the set there are 20 font sizes, which provides a rich typography. If you need a strict, but at the same time artistic font, Alterglam is the font of your choice.

Bride Style, A sweet beautiful delicate script font. Inspired from the wedding modern calligraphy style but presented in a fashion editorial way. Perfectly fit for branding, logo, wedding things, greeting cards, fashion, lookbook, moodboard, presentation, imagine the luxury, beautiful, stylish, and casual in the same time.

Beba is based on geometric structures, where the same formal characteristics are applied to as many letters as possible. It is a sans-serif monoline typeface. It has a modern, clean and minimalist image; ideal to use for advertising, printed or digital graphics and signage system design.

Makalu is a funny flower font inspired by the lovely drawings of the famous illustrator Zdeněk Miler (best known for his small mole). His flowers are at the same time cartoony and realistic. Enjoy this choice of 27 original and distinctive illustrations while creating your designs.

Alessyia is a classic style typeface font. This font has classic but at the same time a fresh look. "Alessia family" includes 3 font types: Regular ( Classic and elegant with straight geometric lines ) Grunge ( Dirty and messy ) Retro ( Hand drawn brush font with an uneven texture )

This is a block font style really dynamic. The blocks have a good harmony between them, every letter have the same width, this is comfortable when work on poster or on a big text. The rounded final of letter give a dynamic effect than a square final.

Fedot is a hand-drawn font, based on shapes of early cyrillic scripts (so-called "ustav" and "poluustav"). Lowercase typesetting with its variable letter heights is more brisk and authentic, and uppercase is more equable and neutral. Some of letters are the same in lowercase and uppercase.

Create borders, wallpaper, or repeating patterns using Wallflower II’s unique hand drawn wallpaper tiles and accompanying icons. Wallflowers II are easy to use for borders or wallpaper: simply type the same letter consecutively (i.e., aaa) and the pattern will emerge. See what’s included! http://bit.ly/2bGXbnC

It is what it says: a classic woodtype face by the same name from Vanderburg and Wells' 1878 specimen book. What it lacks in refinement, it makes up for in exuberance. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. The elegant one of the family, Alinea Serif, is a transitional, a style represented by Caslon and Times. It is a contrasted typeface, strong stems and thin hairlines.

Create borders, wallpaper, or repeating patterns using 25 unique hand drawn wallpaper tiles and accompanying icons. Winter Wallflowers are very easy to use for borders or wallpaper: simply type the same letter consecutively (i.e., aaa) and the pattern will emerge. See what’s included! http://bit.ly/2bO1mIE

Amient is a modern, experimental, display typeface inspired by contemporary typography. It has a very eccentric and expressive character. The letterforms are eclectic but consistent at the same time. Amient is a bold choice for bold projects. It will work well on posters, covers, titles, and logotypes.

Kab has a big impact, is very legible and at the same time has plenty of details that makes it really unique. Perfect for headers and display, it also can be used at smaller sizes and even as a body text with great results. Complete character set.

Solid Deco JNL was modeled after a small sign with the word "restaurant" in an unusual Art Deco solid lettering style. It was spotted within the same image of the Lenox Lounge in New York which gave forth the neon letters that became Sign Sans JNL.

Linotype Punkt, from US designer Mischa Leiner, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This font, from US designer Mischa Leiner is available in three weights, light, regular and bold. The basic forms are those of a robust sans serif, however the figures are composed of evenly placed dots, hence the name Punkt, the German word for dot. This distinguishing characteristic lets this font look as though it appears on a background of light. One other unique trait of this font is the nature of the three weights. The figures of each weight have exactly the same measurements, the same width, breadth, etc. The only variable measurements are those of the individual dots making up the forms, making the bold weight much darker than the light while retaining the same outer contours. Linotype Punkt should be used in larger point sizes, as when it is too small the dots blur together and rob the font of its 'light'. The font is therefore best for headlines in large and very large point sizes.

Heraklion letters are drawn with their gravity in the metric vertical – instead of resting on a baseline, they dance acrobatically on a string. This allows for a more drastic variation among the glyphs, which no longer have a fixed x-height. In order to create a simplistic and mathematic character, shapes are constrained to circles and straigh lines. The design principles result in a playful expressive set that is surprisingly clear. “A choreography where the individual actors freedom of expression is enclosed in foundational rules that create interconnectivity and belonging.”

Belinsky is a monospace sans serif typeface inspired by early 20th century geometric sans serifs, architectural letterings, and retro video games to some extent. Its exaggerated proportions and sharp details appear less harsh thanks to the corner rounding. It is comprised of a standard and text families, and the latter is especially suited for small text and programming, with wider spacing and more centralised gravity of certain letters like E. It still gives your codes a lot of personality. The typeface name is a reference to the designer�s favourite animated film, American Pop.

Belinsky is a monospace sans serif typeface inspired by early 20th century geometric sans serifs, architectural letterings, and retro video games to some extent. Its exaggerated proportions and sharp details appear less harsh thanks to the corner rounding. It is comprised of a standard and text families, and the latter is especially suited for small text and programming, with wider spacing and more centralised gravity of certain letters like E. It still gives your codes a lot of personality. The typeface name is a reference to the designer�s favourite animated film, American Pop.

Domotika was first designed for Zetafonts by Cosimo Lorenzo Pancini in 2018, trying to translate the modernist and humanist ideals into typographic form, looking for a conversation between the classical and the contemporary, the hand-made and the technological. Following the motto of Mies Van Der Roe and Gustave Flaubert ("God is in the details"), Domotika takes inspiration from architectural practice, with a pragmatic attention to functionality that doesn't forget aesthetics. Its design juxtaposes the open humanist letterforms to slight calligraphic curve endings that marries perfect readability to expressive design. The name itself of the typeface is an homage to the science of living comfortably, with its reference to "domotics", robotic technology for use in the home. In 2021 Andrea Tartarelli, who originally designed Domotika italics, completely reworked the original type family adding over five hundred glyphs to the original set and extending the language coverage to include over two hundred languages using latin, Cyrillic and greek alphabets. Open type features have been also expanded, including positional numbers, small caps, ligatures, contextual alternates and stylistic sets, as well as tabular, lining and old-style numerals. • Suggested uses: conceived as a great tool for editorial use, great for display usage too, where readability and personality must match design space needs; • 18 styles: 8 weights + 8 italics + 2 variable fonts; • 1075 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Subscript, Superscript, Tabular Figures, Slashed Zero; • 219 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

Grotesque sans typefaces: you know you won’t ever get tired of those. And any moment you decide that Vignelli was right and one Swiss font is enough, here comes a new specimen from the past inviting you to try new takes on the modernist letterforms. It's a tight and crowded design space, so design decisions are subtle and almost unnoticeable. Whoever you decide to be in the details - either God or the Devil - you surely need a taste for the infinitesimal to work with these shapes. Time design borders sandstoning shapes, in a delicate equilibrium between modernist precise ideals and the fascinating energy of old lead grotesques. The resulting typeface develops around an idiosyncratic relationship with negative space, inspired by the tight metrics modernist designers imposed on their layouts. Leaving a text optimised spacing to the text subfamily, Milligram plays with a feeling of attraction behind shapes, something brought to the extremes in the logo-oriented Milligram Macro Variant. Designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, Milligram is a fine but bold homage to the Akzidenz Grotesk that never was. • Suggested uses: Milligram is a versatile type family: perfect for modern branding and logo design (Milligram Macro), for text and editorial design (Milligram Text), web design, packaging and countless other projects; • 36 styles: 7 weights + 7 italics x 3 different styles + 2 variable fonts; • 759 glyphs in each weight; • Useful OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Scientific Inferiors, 5 Stylistic Sets, Subscript, Superscript, Tabular Figures, Slashed Zero; • 207 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Latvian, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), M?ori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Sami (Inari Sami), Yindjibarndi, Noongar, Hotc?k (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Slovio (Latin), Volapük.

Chucara next is the newest font designed by Juan Pablo De Gregorio, a typeface aimed at high readability when set in paragraphs or large chunks of text. Its predecessor "Chúcara", born in 2003, sought after increasing readability by achieving big and simple counterforms. This time around Juan Pablo went further by increasing the X-height and trimming both ascenders and descenders, thus the font appears to be much larger than it is and can be readable at smaller sizes. The DNA of the whole font is marked by the terminal of the "a" character. Juan Pablo used a specially crafted cut to design this counterform, and this shape together with the graceful and winding forms of the letter resembles the form of a horse, hence the name Chúcara, or untamed. The italic version has a 10-degree angle and a 10% condensation, making it way more streamlined than a regular italic font. The Philosophy of a larger counterform is maintained through and through in the italic variant. This version looks different not only due to its inclination, but the sheer effort put into carefully taking care of the condensation and the gestures allow the italic to enrich the texts gracefully, for the highlighting of the words stands out without affecting the grey of the paragraph. Chucara next is a typeface optimal for being used in books, newspapers, magazines, texts, printing, headlines, editorial, quotes, corporate identity, and lo res printing. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 635 characters with small caps, stylistic sets and different kind of numbers. It supports 219 Latin-based languages, spanning through 212 different countries. Chucara next supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Union Station is based on the transit scroll lettering displayed in Denver’s Union Station. The letter shapes are reminiscent of grotesque sans serif typefaces of the same era with quirky details left by the artist’s brush. The typeface gives a sense of rugged Americana and a handcrafted spirit.

Matisse's paper cutouts inspired Gail Blumberg, Adobe art director, to create a typeface of figures. Her biggest challenge: keeping each Cutout design in scale. It's not easy to make a standing figure, like 'Y,' to be the same size as a curled up figure, like 'G,'" Gail says."

Oak Ridge JNL gives a Westernized treatment to Flivver JNL; which in turn is a serif derivative of Two Reeler JNL. Although all three fonts come from the same root source—inter-title cards from an old Charlie Chaplin movie, they each take on a personality of their own.

Inline Retro JNL is Art Deco in style, featuring condensed characters and its namesake inline. While not a true revival of a vintage design, the same influences are utilized throughout the font to give it retro appeal. Inline Retro JNL is available in both regular and oblique versions.

It is an Extra Condensed, Extra Light, Extra experimental and Extra display font. Extra C is a fun font that doesn't take itself too seriously. Ideal for those who need a font with great character and personality but at the same time a delicate touch in their graphic pieces.

Tangled PW is suitable for display use for titles, etc. This font contains the basic characters. Uppercase, lowercase, numerals, and basic punctuation. See the character map for all of the included characters. Tangled PW is available in OpenType and TrueType format which are both included in the same package.

Filt is based on hand-drawn sketches; no geometry, all visual. At the same time the curves are digitally constructed with extreme accuracy. The result – aggressive, playful, eager and ultra bold. This makes Filt a great headline and display unicase font. Filt Pro comes with a Greek set aswell.

Albion’s Very Old Masthead is inspired by traditional newspaper mastheads. A heavy Black Letter which brooks no argument, and can be emphatic and refined (emphatically refined?) at the same time. Very Old Masthead has been deliberately weather to suggest that it has been set with timeworn, well-used, type.

Fatty Fatty Boombalatty PW is suitable for display use for titles, as well as short paragraphs of text. This font contains some alternates and ligatures for your creative pleasure. Fatty Fatty Boombalatty PW is available in OpenType and TrueType format which are both included in the same package.