This is an Experimental typeface, a direct descendant of the BD Gitalona font family, which has a supermassive family with Variable technology. However, this version is more on the aesthetic aspect, which is experimental and exploratory. It complements the beauty of the primary typeface that we released separately. If you are a fan of Effectiveness and flexibility, please learn more about BD Gitalona and BD Gitalona Variable! Inspiration The world of entertainment moves non-stop. One by one, figures appeared and left. We expect to create something to entertain previous trends with packaging more relevant to the present. More specifically, we admire and are inspired by some of the world's leading and top singers with a segmented nature. We imagine so many figures that can affect every viewer. However, each artist or singer has a segment because almost all of them have characteristics. The Design The basic design of this typeface begins with a transitional serif shape with sharp, shapeless corners. Then in the middle of the invention, there was an opportunity to explore it further from the readability side by adding an optical variable that can adjust the serif thickness when used together between large, medium to paragraph text sizes for editorials. The shift from serif to sans-serif with the contrast initiated by the shift of the serif family form as a different variable also makes this font richer in terms of the features it contains. Parts are expected to add to the user satisfaction with the complexity of this font. The Features BD Gitalona consists of one sub-family intended for body text with nine weights from Thin(100) to Black(900) and four other display sub-families such as Display serif, Flick, Harmony Sans and Contrast Sans. Each consists of four weights Thin(100), Regular Weight(400), Bold(700), and Black(900). And again, there are also retailed separately; the BD Gitalona Variable font, which is designed to accommodate all Subfamily in 1 font file, and BD Gitalona Moxa, an experimental typeface. A total of 700+ glyphs in each style. Advanced OpenType features functionally and aesthetically, such as Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Supports multi-languages ​​including Western Europe, Central Europe, Southeast Europe, South America, and Oceania.

The art of paper folding in dingbat form. The uppercase alphabet is made up of origami animals and the lowercase offers those shapes decorated in traditional origami paper patterns. Full patterns, flowers, and partial foldings fill out the symbols and numbers.

A revival of old hand painted sign in Old Jaffa, from the mid of 20th century.

Some old broken characters. It reminds me of old labels on walls, streets or on tanks.

Glorita is an original, clean and crisp, sans serif condensed font, excellent for text and at large sizes an effective display font. The font includes upper and lowercase alphabets, numbers, punctuation, accented characters, symbols, and miscellaneous characters.

This is a beautiful, modern, and super readable font. You can use it in any kind of text, from folders to prayer books. This font also has modern punctuation: shevana, kamats katan, dagesh hazak, and holam chaser.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the narrow, italic version, completing the family of 6 fonts in total, sans serif.

Smitta Bali is an amazing hand lettering, looking attractive and natural! Every single letter has been carefully crafted to make your text look beautiful. This font is suitable for invitation, branding, advertising, classic design, poster design etc.

Cross Stitch Medieval is not intended for text use. It was designed specifically for use as fancy monograms or initials. Cross Stitch Medieval has an uppercase alphabet, 9 stitches tall, located under the shift+character set keys.

BlueCreek is a extra condensed geometric typeface, and works best in text and display applications, such as headline, posters, signage, magazine, print, product branding, corporate branding, logos and titles. Several alternate characters are included in this typeface.

XAabced evolved gradually as I reworked earlier attempts to do a text face. It is quite condensed, but with fairly long ascenders and descenders. Blending it with JasperSqueeze resulted in JabcdHy, which I prefer to either parent.

Coreopsis is a family of fonts that combines mathematical precision with a hand-drawn feel. Versatile enough to be applied to an attention-grabbing headline, or to blocks of paragraph text. Coreopsis is available in three weights.

Quirky is so unpredictable and full of weirdness that you don't know what’s coming at you! The font has more than 250 different ligatures, that should be enough to boost your text into something funky and wild!

Manor script is designed with an oval brush and a pen, with two alternate [ r's ] completing the connected lowercase handwritten appearance. Suitable for Captions, packaging, cards, posters, ads, book jackets, manuals, and menus, short text and paragraphs.

This neat, handwritten font is intended for educators who create teaching resources for children. It is highly legible for new readers and is thin enough to be used for the body of text on student-read documents.

Ergam is a text font that goes even further than the average language support. Designed with great attention to detail and without cutting corners, it should serve you as a robust workhorse with a touch of elegance.

Introducing Emberglow Script, a monoline handlettered font with a varied baseline. Emberglow is packed full of discretionary ligature and a variety of alternate characters so that you can customize your text to make it look truly handwritten.

Paksa is a decorative sans-serif typeface. The name of this typeface is derived from the Thai word that means “bird.” It is suitable for use in text headlines, sub-headlines, packaging, posters, and other print media.

Stickley Optical Family is an expansion of P22 Stickley Text, a humanist, Oldstyle-rooted design with a contemporary execution and full OpenType abilities. The font contains ten distinct cuts across four optical masters—in addition to Text for page content, the optical family includes Display for titling; Headline for emphasis; and Caption for footnotes and small sizes. Typefaces were originally designed for the physical size at which they were to be printed, with subtle variations in proportion, detail, contrast, and visual weight to ensure they were as clear at 6 pt. as they were elegant at 68 pt. This created a unified design as the various sizes were set together on a page.

Text is the foundation of this typeface family and is built for use in extended reading. Its proportions are carefully balanced for visual clarity while retaining its character; designed for use at 9 to 13 pt. Caption is a sturdy, simplified interpretation of the Text letterforms, with ink traps, generous letters and spacing, and hefty proportions to give balance to the smallest content on a page; designed for use at 5 to 8pt. Headline is a complement to the Text master size. It is a gently modified version with larger small caps to add visual strength and has a greater delicacy; designed for use at 14 to 26 pt. Display is an elegant refinement with stylized details. It harmonizes with the smaller optical masters as a more intricate manifestation of the typeface. Designed for use at 34 pt. and above. 
 Opentype features include ligatures, oldstyle and lining figures, alternates, Central European characters and diacritics, and Swash Caps for the Italics. Stickley Optical Family is a feature-rich workhorse with international functionality.

Ghost Sign JNL is a spurred serif type design based on the faded lettering of an antique brick wall sign for Homer Hardware [located in Homer, NY] and is available in both regular and oblique versions. From Wikipedia: “A ghost sign is an old hand-painted advertising sign that has been preserved on a building for an extended period of time. The sign may be kept for its nostalgic appeal, or simply indifference by the owner. Ghost signs are found across the world with the United States, the United Kingdom, France and Canada having many surviving examples. Ghost signs are also called fading ads or brickads. In many cases these are advertisements painted on brick that remained over time. Old painted advertisements are occasionally discovered upon demolition of later-built adjoining structures. Throughout rural areas, old barn advertisements continue to promote defunct brands and quaint roadside attractions. Many ghost signs from the 1890s to 1960s are still visible. Such signs were most commonly used in the decades before the Great Depression. Ghost signs were originally painted with oil-based house paints. The paint that has survived the test of time most likely contains lead, which keeps it strongly adhered to the masonry surface. Ghost signs were often preserved through repainting the entire sign since the colors often fade over time. When ownership changed, a new sign would be painted over the old one.”

Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Introducing Raymond, the typeface that dares to be imperfect. With its rough, textured script and unevenly stamped letters, Raymond exudes a raw, unapologetic energy that will inject your message with a sense of authenticity and personality. But don’t be fooled by Raymond’s rough exterior—underneath its imperfect surface lies a sophisticated and classy design. Each letter has been carefully crafted to give your text a touch of elegance and refinement, while the worn-out edges and misaligned characters add just the right amount of character. Whether you’re looking to create a bold statement or simply want to add a touch of edge to your design, Raymond is the typeface for you. So why settle for the same old cookie-cutter fonts when you can embrace the beauty of imperfection with Raymond? Give your message the unique and candid style it deserves with this one-of-a-kind typeface. 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.

Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Now is a great time to dust off your old motor scooter and take a ride along the Italian Riviera. Let’s head to the flower city of San Remo, Italy - the namesake for this versatile, 1950s style script. Try San Remo on your next brochure or flyer project. You may want to consider using it to create a special logo or icon for your personal stationery. It’s perfect for any job that requires linked or connected letters. And for your convenience, this dashing design sports a variety of alternate characters plus lining and old style figures. San Remo Casual is also available as an OpenType font. It contains lining and oldstyle figures, prebuilt fractions, stylistic alternates, and a wide assortment of f-ligatures, plus more. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades. Ciao!

Qiltray is a good example of how handwritten fonts can be made for use in long texts. With clear and readable letters, Qiltray may be used in any kind of publications. Includes Cyrilic and CE character set support.

Here is a Guideline for you: Use this font if you want fun, unpredictable, legible and handmade text with influences from both comics and graffiti. Each letter has 5 different versions, and they automatically cycles as you type!

Tesca is a condensed modern grotesque typeface. Tesca is great for uses such as headlines or text body. Features Latin and non-latin glyphs. Three styles: Flaca, Normal & Gorda. (Uppercase & Lowercase). OpenType features include ligatures and basic fractions.

Markup is a fresh, clean, handwriting font suitable for use in many applications. At large sizes, the letters showcase their smooth, natural curves. At text sizes, its sharp rhythm makes for a casual personality while still remaining legible.

NK_Fracht Square (meaning Cargo or Freight) is a stylized version of Neue Konstrukteur Square. It is more suited for headline and display purposes, but can also be used quite successfully for short blocks for running text and captions.

A practical font family with 4 weights for all your day by day design needs: headlines, body text, signage etc. High legibility at small sizes. An extended sans serif typeface that provides unique softness appearance without losing legibility.