Bodoni Terracina is a legible, fun-formal script face, with lots of curls. Sometimes script faces are hard to read. Sometimes being formal means that there’s no personality and there’s no fun. Enter Terracina: one of the masterpieces of font design. Some of the most personable italics ever carved. Includes powerful new features for: • Dates • Pricings • Addresses Not is only Terracina formal but fun, it’s also fun to use! In a program like Adobe Indesign or Illustrator, just highlight a word and see lots of fun options. Bodoni himself etched these symbols, and his fun-loving personality shines through. As a semi-script, it can go together with many script fonts, but it is more readable. When you need something equal parts elegant and whimsical, Terracina strikes a perfect balance to let the fun shine through, such as for holiday designs or fairytales. Terracina is a subheads font, but Bodoni also used it for paragraphs. So Terracina works well doing subhead paragraphs, especially when contrasting with the mood of the first font. And because of the swash variety, it works well for setting German and other European languages. CAL Bodoni Terracina is a member of our Origins Series. Origin Fonts are designed to be true to the original designer's intentions and fonts. Our Bodoni origin fonts ARE Bodoni fonts, not imitations or interpretations. They were drawn by Bodoni, our team just expanded it for modern use. For Terracina, Bodoni's original weight is the "Quasi-Lite" option, all other weights have been meticulously matched by the CAL Origins Team.

Nova Horst is an amplified version of Horst, a highly original font (MyFonts Rising Star) based on etchings by the extraordinary artist and printmaker Horst Janssen. Nova Horst keeps all the amazing wilderness of the original font, while enriched with sharp OpenType programming, plus a whole new set of alternates, a handy set of ornaments and loads of cool unpredictable overlapping glyphs. Language support was also expanded. Now there are 5 sets of letters, 2 sets of numerals and a robust set of discretionary ligatures. OpenType functionalities now include an extremely playful Contextual Alternates feature and also Discretionary Ligatures and Stylistic Alternates. Nova Horst is an energizing blend of eccentric characters, cool OpenType features, loads of alternates and a meticulous kerning table. But be warned: as the original font, this one is quite addictive! A quick roadmap: • All features turned off: you can choose the different letterforms stored on upper- and lowercase sets. There are no overlapping letters. • Contextual Alternates turned on: you get alternating characters from 4 sets of glyphs, with loads of overlapping letters, all managed by a carefully handcrafted kerning table. The result is a very cool random effect on glyphs distribution. • Discretionary Ligatures turned on: now some additional glyphs enter the scene. There are more than 60 ligatures glyphs which substitute pairs of letters for some extra-coolness • Stylistic Alternates turned on: access the counterless glyphs from the Stylistic Alternates set. Use each feature alone or mix them up for added boldness. Gorgeous extravaganza guaranteed!

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

The Joanna® Nova design, by Monotype Studio designer Ben Jones, is an extensive update to Eric Gill’s original Joanna typefaces and brings this much admired – but underused – slab serif typeface into the 21st century. Joanna Nova features 18 fonts – more than twice as many as the original Joanna – with a wide range of weights including thin and ultra black, which were not available in the original design. Every glyph has been redrawn using a variety of reference sources, including Gill’s original sketches and the copper patterns used in Joanna’s initial production. When Jones set out to design Joanna Nova, he saw that the ‘real Joanna’ was not immediately evident. “Some of Gill’s original drawings have a sloped ‘M’; there is also a ‘K’ and ‘R’ with a curled leg and a letter ‘d’ without the flat bottom,” he explained. “Is this Joanna? Or is it the version used to print Gill’s Essay on Typography? Or is it the digital version with which most people are surely more familiar than any other version? Ultimately, I think, none of these and all of these were ‘Joanna’ because, as with any typeface, it is more the idea or concept behind the typeface that makes it what it is. My approach was to create a version of Joanna that appears in your mind when you think of Joanna.” Jones noted that one of the most distinguishing aspects of Joanna is the italics; and that, for reasons unknown, many of the characters in the current versions are much more condensed than those in the hand-set fonts of metal type., The newer designs being almost unusable at small sizes. The italics in Joanna Nova have been reworked to be more legible and closer to their original widths. Joanna Nova expands the original Joanna in several ways that open up new typographic possibilities, These additions include several new weights, support for Greek and Cyrillic scripts, small caps for all scripts in both upright and italic styles, several numeral options and a host of context-sensitive ligatures. The Joanna Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

Paneuropa 1931™ is a faithful recreation of XX-century Polish classic, made by Idzikowski foundry in Warsaw, 1931. Original Paneuropa was a renowned and highly popular typeface in XX-century Poland, and was widely used in all kinds of design, editorial use and printed materials for decades. Paneuropa is a geometric, clean and versatile font family inspired by Paul Renner's famous Futura - it is a bit narrower, with different proportions and details in drawing, completely different figures and punctuation shapes than Futura. It is an interesting and refreshing alternative to Futura with its own distinct personality and a subtle authentic vintage flavour. Paneuropa 1931 contains separate styles for display and large sizes as well as styles for small text sizes - differing in spacing and the softness of letterforms. The family features an original Paneuropa Double font - a beautiful inline style for headlines and display use. The whole family is completed with added missing inbetween styles as well as italics. The original subfamily set is available for purchase and it contains solely the original Paneuropa styles (Thin, Regular, Bold, Text Regular, Text Italic, Double). Paneuropa 1931 characteristics: letter shapes and proportions are very faithful to the original, keeping its idiosycrasies and inconsistencies spacing and kerning are carefully adjusted in order to achieve the colour of the original fonts, keeping maximum possible consistency - a compromise between authentic vintage feel and legible consistent text colour (for hardcore users: just turn off the kerning) weights precisely matching the original (Thin, Regular, Bold, Text Regular, Text Italic, Double), inbetween weights were added (Light, Demi Bold, as well as missing italic styles) italic angle faithful to the original (8 degrees) softened corners help achieving the character of old imprecise printed display styles for big sizes are sharper and have tight spacing, text styles have softer shapes (recreating small print imperfect print) and broader spacing for use in paragraph text (spacing in both display and text styles matches the original as well) original style names in Polish for devices with Polish set as their primary language The family is very versatile. The Inline style as well as bold and thin weights are perfect for headlines and display use, other styles works wonderfully as paragraph text. Paneuropa 1931 consists of 18 fonts - 5 display weights with corresponding italics + 3 text weights with corresponding italics + 2 inline styles (for big and small print sizes). It has extended support for latin languages, as well as broad number of OpenType features, such as case sensitive forms, fractions, superscript and subscript, ordinals, currencies and symbols.

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

Are you looking for an appropriate typeface for coffee shops concept? We want to introduce Pistacho, the new type family of Estudio Calderon that contains 18 fonts to design great illustrations and to be applied, especially, in coffee shops, bakeries, ice-cream shops, candy stores, pastry shops, fruit shops and all those places where food is the center. Pistacho was designed by hand using pencils and markers that let us get a handcrafted and rough texture. Below, a brief description of each style: Display: A fresh and modern type, perfect to be used in coffee shops outdoor signs. The logotype of “Central Perk”, the coffee shop of the tv show “Friends” was our inspiration to develop this beautiful font that contains 317 characters and three variables: Display 1, Display 2 and Display 3, each one has specific characteristics that will be an excellent resource for your designs. Sans: Style that contains 7 fonts that can be mixed to get interesting finishes in your designs, each variable has 363 characters with standard ligatures and stylistic alternatives. You can find this styles as: Sans 1, Sans 2, Sans 3, Sans 4, Sans 5, Sans 6 and Sans 7. Good news, you can get Sans 5 DEMO for free. Script: Script 1 and Script 2, two monolineal fonts with a generous spacing that provides contrast and movement, being a suitable complement for the rest of the types of Pistacho family. Serif: Font with a lot of style and personality, inspired in the interlock alphabets shown in «Photo-Lettering´s One Line Manual of Style». Serif 1, Serif 2, Serif 3 and Serif 4 contain a great number of ligatures that generate nice compositions by combining them. One of the characteristics of this style is the combination of upper case and lower case giving as a result a different touch in each design. Soft: Humanist type with a rustic texture and geometric forms ideal for long texts and small sizes. Dingbats: We have designed a package of 244 graphics, illustrations and ornaments that are the perfect complement to combine with each font of this family. Get Pistacho type family, enjoy using it… and do not forget your cup of coffee.

Introducing Quasix—the typeface that defies logic! With its compact industrial headline design, this font is the perfect choice for anyone looking to add an edge to their design work. But beware, its quirky design might have you scratching your head at first. Just like the inside of a machine, Quasix is full of moving parts, each with its own unique purpose—but don’t worry, you don’t have to be an engineer to appreciate its beauty. This typeface is perfect for those who want to convey the concept of engineering devices without using typical techno typefaces or cliche physical symbols like gears and bolts. Quasix will elevate your design to the next level, and its versatility makes it suitable for a range of themes, from retro to modern and even futuristic. Don’t be afraid to get creative with Quasix—this typeface was made to be bold and unconventional. Let it take center stage and watch as it transforms your design into something truly unique. Quasix defies convention and breaks the mold, making it the perfect choice for those who aren’t afraid to think outside the box. Try it out and see for yourself! 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.

Evans was named after Walker Evans, an american photojournalist whose photographs often featured unassuming subjects – ordinary people, roadside scenes, and the subtle details of the American landscape. His ability to find beauty in simplicity and appreciate the mundane inspired Cosimo Lorenzo Pancini and Andrea Tartarelli to create this typographic family that aims to convey the ideals of journalistic storytelling: simplicity, clarity, and unpretentious honesty. Looking for a soothing, relaxed visual flow in body text, Evans was designed by gently narrowing classical proportions to answer the designers' need of maximizing the arrangement of lengthy text within confined spaces. Combining the vintage appeal of a semi-condensed old-style structure with a very slight transitional slanted axis resulted in text-oriented typeface with visual charm on both printed and digital pages. Subtly reducing the size of majuscules allowed the effect of an increased x-height, balancing space saving with increased readability at same point size. Using soft, semi-calligraphic shapes and keeping a generous letter spacing, the designers embraced a minimalist approach, aiming at a smooth reading experience. For maximum versatility, Evans provides two distinct variations tailored to different purposes: the Regular and the Narrow subfamilies. While both are fine-tuned for body text applications , the second is suited also for display-oriented contexts, where attention-grabbing headlines take center stage. Each subfamily is developed in a range of 8 weights from Extralight to Heavy, and includes over 700 glyphs with full coverage of language using extened latin glyphs. True italics are designed for all weights, providing additional typographic control through the design of Swash Alternates, available through Open Type features that also include Standard and Discretionary Ligatures, Positional Numerals, Case Sensitive Forms and Stylistic Alternates. The family is complemented also by a rich set of Ornaments, available both as special glyphs or in a separate font. With its retro-inspired design and unwavering commitment to form and function, Evans effortlessly extends its versatility from editorial design to digital interfaces and logo creation, inviting users to appreciate the beauty in simplicity, find joy in the ordinary, and embrace a relaxed and unhurried mindset.

Introducing GGX88—the Swiss inspired sans-serif typeface that is perfect for on-screen user interfaces. Designed with a minimalist approach, GGX88 offers a sleek and sophisticated look that is both familiar and unique. With seven weights and italics to choose from, GGX88 provides the flexibility you need to create a stunning design. Whether you are designing a website, app or presentation, GGX88 is the perfect choice for any project that requires a clean and modern aesthetic. Its simple yet striking design ensures that your message is conveyed clearly and effectively, while its minimalist look ensures that your content remains the center of attention. But GGX88 is not just a single typeface—we also offer GGX89, a display oriented version of the font that is perfect for headings, titles, and other larger text. With its bold and eye-catching design, GGX89 is the ideal choice for projects that require a more dynamic and attention-grabbing font. So why wait? Try GGX88 and GGX89 today and see the difference that a minimalist and Swiss inspired design can make to your project. With its clean lines and contemporary feel, GGX88 is the perfect typeface for anyone looking to make a bold statement. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. Imagination and variety of shapes, which so far have been reserved only to the fine arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery - they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the first time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the flaps and in the imprint lines. Bold upper-case letters in the first line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque title-page could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book - a typographical manual. Among these manuals the one published by Fournier stands out - also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words - Baroque typography deserves anything else but the attribute "transitional". In the first half of the 18th century, besides persons whose names are prominent and well-known up to the present, as was Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our firm principle. Does it mean, therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is child's play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a fixed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in today's modern type designer's nihilism.

Esfand is a modern Sans Serif font family in three weights, Light, Medium and Bold.The Esfand innovation is a contribution to the modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Esfand supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Esfand Font family is available in Three weights; Light, Medium and Bold. Its intuitive design arrangement fulfills the following needs: - It is precisely crafted for use in electronic and print media. Esfand is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Esfand is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Esfand's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. - Esfand is an eye-catching and classy typographic image that was developed for multiple languages use and writing conventions. - Esfand uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Esfand typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Zanna is a modern typeface with lots of style and elegance. The Zanna typeface was inspired by the high contrast Didot look, which has been synonymous with fashion for decades. The Zanna typeface also has a very thin hairline and short non-bracketed serifs, which gives it a nostalgic and modern look. The Zanna typeface comes in two styles Regular and Stencil, each style has an oblique version. The Zanna typeface has over 140 ligatures and alternate characters, this makes it perfect for creating modern and elegant feminine logos. With so many ligatures and alternates characters to choose from, you can definitely create stunning designs for your brand or clients. The Zanna typeface can be paired with a beautiful minimal sans serif or light script font, this combination will make your next project look elegant and classy. The Zanna typeface is very versatile and can cover a wide range of project such as: fashion branding, mastheads, magazines, feminine logos, facebook banners, wedding invitations, Instagram posts, websites, blog posts, pull quotes, editorials, product packaging, trendy social media posts, advertisements and much more. If you are looking for something modern, nostalgic and chic for you next project, Zanna is the font for you. What you get: Zanna Regular.otf Zanna Oblique.otf Zanna Stencil.otf Zanna Stencil oblique.otf Zanna includes a full set of: Uppercase and lowercase letters. Numbers. Punctuation. Ligatures. Alternate characters. Small Caps. Multilingual symbols. We hope you enjoy using the Zanna typeface.

Miranda Wright is a captivating serif font designed in an exquisite and elegant style. Each letter is meticulously crafted with fine details, evoking a sense of sophistication and grace. What sets Miranda Wright apart are the last few letters, which feature graceful circular swings that add a touch of charm and uniqueness to the font.. The circular swings at the end of certain letters infuse this serif with a delightful flair. These subtle and graceful details add an air of playfulness and individuality to the font, setting it apart from conventional serif typefaces. The circular swings give the font a distinctive personality, making it ideal for creative projects that seek to stand out. Its legible and elegant letterforms make it suitable for both body text and headings, while the circular swings add a touch of character that enhances the overall visual appeal. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Miranda Wright fits in headlines, logos, posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, website headers, and many more. 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.

Averta Standard is the basic version of Averta. Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) Averta is a geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta Standard is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta Standard an excellent tool for a range of uses, from signage to branding and editorial design. Averta Standard comes with alternate glyphs, case sensitive forms and contextual alternates, in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta Standard PE (Pan-European: Latin, Cyrillic, Greek), Averta Standard CY (Latin and Cyrillic), and Averta Standard (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Finding a perfect font for your project which always looks good in different display types can be a complicated task. Furthermore, the right font choice determines the success and the failure of your project. Unfortunately, if you fail to find the perfect one, you will waste your time, money and energy. Therefore, we would like to introduce you to Jelly Ball, a perfect font for any different display types without decreasing the legibility. Jelly Ball is a display font in round shapes on the letters’ edges to produce different effects on different applications. Generally, such a display font shows amazing, fresh, modern expressions to highlight important messages, to attract readers’ attention, and to beautify the display as well. The letters’ forms and proportions are relatively consistent enough to be legible. An extra bonus given is the clipart. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Jelly Ball 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.

Because we know that you will never get tired of using them and that you will always need a new tool for Identity Design, we created Identa. Conceived to translate corporate and humanist ideals in its typographic form, it seeks a dialogue between neutrality and contemporaneity. With a pragmatic attention to functionality that does not forget aesthetics. It is a Sans serif model, accessible and well-founded. All-terrain, workhorse that seeks to be reliable and durable. It solves any type of content with efficiency, intelligence and professionalism. Its clean forms and x-height make it a very competent face for both short identifiers and long text bodies, ideal for display use where legibility and personality must match new design needs within a company. It is available in eight styles, ranging from its White version to the darker Vantablack, each optimally set with its respective italic variables, and a Dingbats font designed to solve everyday cases. Each font contains 737 glyphs, macro and micro aesthetic details inspired by current visual communication systems and trends. The dingbats font includes 303 signs and is a set of icons and symbols that can be used in multiple environments, both for print and digital media. This typeface family seeks to meet the needs of brand designers looking to create an assertive appearance, whatever the case. It is a solid and self-confident typeface, without appearing overly constructed; on the contrary, its nuance makes it look fresh.

Introducing "Theman Cathos" Font: A Bubble Dynamic, Modern, and Funky Typeface Theman Cathos is a captivating font that combines the essence of bubble dynamics with a modern and funky style. Its unique design exudes energy and playfulness, making it perfect for projects that require a fresh and vibrant look. This typeface features rounded letterforms with soft edges, giving it a friendly and approachable feel. The bubbly contours of each character create a sense of movement and liveliness, capturing attention and adding a touch of whimsy to any design. With its modern twist, Theman Cathos brings a contemporary edge to traditional bubble fonts. It embraces clean lines, sleek curves, and a balanced composition, making it versatile for a wide range of applications. Whether you're designing a logo, branding materials, advertising campaigns, or social media graphics, this font will add a dynamic and eye-catching element to your project. Theman Cathos also offers a wide range of glyph variations, including ligatures, alternates, and stylistic sets, allowing you to customize and experiment with different letter combinations. This versatility empowers you to create unique typographic compositions that truly reflect your creative vision. Embrace the spirit of modernity and funk with Theman Cathos font. Elevate your designs, stand out from the crowd, and infuse them with a sense of joy and energy. Let this captivating typeface be the perfect tool to express your creativity and make a memorable impact.

Neufile Grotesk has its roots in some of the earliest commercially available sans-serif typefaces. This highly legible sans-serif design is well-suited for many display and text-based typographic uses. Users can apply the fonts effortlessly to a large number of messages and media, from advertising to book design. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s eight static OpenType font files instead. Those weights run from Extralight through Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Neufile Grotesk Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the eight static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Whichever format you choose, the Neufile Grotesk fonts include several sophisticated OpenType features. In addition to standard ligatures, there are a few discretionary ligatures and a stylistic set replacing “a”, “g”, and “R” with geometric-sans-style forms. Other features include numeral variants – there are proportional and tabular versions of lining figures and oldstyle figures – as well as fractions and numbers in circles. The fonts have arrows and a feature for setting case-sensitive forms, too.

Black Witcher is a spine-chilling display font that will cast a spell of fear on your designs. With its big letters and bold weight, this font demands attention and exudes an aura of dread. The horror theme is brought to life with meticulously crafted tree root details on each letter, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, making a powerful statement in your designs. The large size of the letters enhances the font's haunting presence. The tree root details in Black Witcher give the font a sinister and otherworldly appearance, as if the letters are entangled with ancient and malevolent roots. These haunting details add a sense of mystery and foreboding, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Black Witcher fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. 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.

Martin Wilke’s underrated yet influential deco classic from 1932 has both feet firmly planted in the high traditions of Western European calligraphy while carefully and subtly introducing some traits from the sweeping geometric/minimalist vision of the time. In a way, it was one of the representatives of the European anti-type typefaces of that era, when print media was searching for the elusive aesthetic balance between humanism and geometry. This typeface enjoyed some popularity in Germany for a few years, and went on to influence further type designs in Holland and Italy. After the second World War, the black hole that swallowed a big chunk of Europe’s print culture, new influences and technologies overtook the scene, and selective historical emphasis ensued, highlighting some of the era’s designs and overlooking others. Further selective picking in the digital era all but buried Wilke’s body of work - unfairly so, because he was just as important in German type history as Bernhard, Post, Schneidler, Tiemann and Trump. The original metal Wilke Kursiv came in one weight. This digital version goes a long way in expanding on that original offering. Now Wilke’s masterpiece comes in three weights, and with a full Pro treatment including swash caps, small capitals, five types of figures, automatic fractions, and plenty of other OpenType niceties. Each of the Wilke Kursiv Pro fonts comes with over 700 characters, and contains support for most Latin-based languages. Also available are three non-Pro fonts in each weight.

First March is a captivating display serif font designed with elegance and a touch of modernity. This typeface combines classic serif elements with a contemporary twist, offering a unique and refined look to your creative projects. The elegant letterforms with clean lines and balanced proportions adding a sense of sophistication and grace to your typography. The serif details provide a timeless appeal, while the modern twist brings a fresh and current vibe to the font. This combination creates a harmonious balance between tradition and innovation. What sets First March apart are its swinging endings in select letters. These graceful and subtle flourishes add a touch of dynamism and playfulness to the font, creating an engaging visual experience. The swinging endings bring a sense of movement and fluidity to the letterforms, enhancing the overall elegance of the typeface. Because of its legibility you can use this font in a variation of text sizes. Enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations First March fits in headlines, logos, posters, titles, invitations, branding materials, print media, editorial layouts, website headers, and many more. 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.

Introducing "Citrus Shore," a cool and chic modern handwritten marker font that embodies a refreshing and vibrant aesthetic. With its lively brush strokes and contemporary style, Citrus Shore brings a burst of energy to any design project. Whether you're creating invitations, branding materials, or social media graphics, this font's playful and dynamic character adds a delightful touch of modernity. Its versatility and undeniable charm make Citrus Shore the perfect choice for those seeking a trendy and captivating typeface that leaves a lasting impression. With its expressive and authentic appeal, Citrus Shore ensures flawless communication across borders. Supporting a wide range of languages, from English to Spanish, French, and more, this font guarantees your message is effectively conveyed. What sets Citrus Shore apart is its inclusion of over 400 alternate letters and ligatures, offering endless creative possibilities for stunning and original typography. From captivating logos to distinctive headlines, this font breaks free from the ordinary, infusing your designs with a touch of individuality. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Citrus Shore - Playful Marker Font Includes: Over 400 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Sticky Melody is a charming display font that combines cuteness with a bold and prominent style. With its thick weight, rounded shapes, and distinct contrast, this typeface is designed to capture attention and infuse your designs with a playful and lively energy. The thick weight of Sticky Melody gives each letter a robust and substantial presence, making it stand out effortlessly. The rounded shapes add a touch of softness and friendliness, creating an endearing and approachable feel. The font's unique feature lies in its prominent contrast, which accentuates the curves and contours of each character, elevating the overall visual impact. Let the thick weight, rounded shapes, and prominent contrast of this font bring your creative visions to life, ensuring that your message stands out in the most charming and captivating way possible. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Sticky Melody fits in children's books, toy packaging, posters, headlines, logos, social media designs, and any design project that require a touch of delightful playfulness. 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.

Coestral is a captivating capital serif font designed with elegance and a touch of interconnected charm. Each letter is meticulously crafted to exude sophistication without being overly heavy, creating a harmonious and visually pleasing appearance. The capitalized letterforms of this font showcase clean lines and refined serifs, striking the perfect balance between elegance and readability. The font's moderate weight ensures a versatile and adaptable design, making it suitable for a wide range of creative projects. What sets Coestral apart is its subtle yet delightful feature of connected letters. Some letters are gracefully linked, creating a seamless and flowing look that adds a touch of uniqueness and artistic flair. This interconnected style adds a sense of continuity and grace to the font, enhancing its overall elegance. On the other hand, its legibility and graceful appearance ensure that it makes a bold statement without overwhelming the viewer. Enjoy the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Coestral fits in headlines, logos, posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, website headers, and many more. 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.

Introducing Royal Avenue, a display serif font that exudes the sophistication and fancy feels you're looking for. Each is carefully character crafted with a unique touch. It's versatility and stylish appearance make it an excellent choice for any project, from logos and branding to packaging and social media graphics. Royal Avenue is the perfect choice for any project. With multilingual support, ligatures, and an extensive alternate feature set, this font allows for freedom to explore and experiment with different variations, adding a unique touch to your designs and making them truly one-of-a-kind. It enables greater flexibility and creativity in your design work. This font is perfect for catching your audience's attention and is ideal for any design project that requires a touch of elegance and style, making it a must-have for any designer or creative. We recommend using it for titles, headlines, and other attention-grabbing elements. To get the most out of Royal Avenue, we recommend using programs that support OpenType features and Glyphs panels, such as Adobe apps and Corel Draw. This will enable you to access all the glyphs and variations of the font and make your design projects truly unique. We hope you enjoy using Royal Avenue as much as we enjoyed creating it. For any questions or inquiries, please email us at info@prestigetype.com. Get your hands on Royal Avenue today and elevate your design projects to new heights.

Iranica is a new creation of Naghi Naghashian. It is extremely legible even in very small size. "Iranica" is reminiscence to my birthplace and my cultural root. Iranica is a modern Sans Serif font family. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Iranica supports Arabic, Persian and Urdu. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography. It also includes proportional and tabular numerals for the supported languages. Iranica design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Iranica's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Iranica was developed for multiple languages and writing conventions. Iranica supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Stoilen is font duo family serif typeface made with the desire for a quality, elegant, classy font that can still be used for all design needs. Wrapped with a modern yet unique character with a style. with so many alternate variations that are so unique but still elegant, it will add to the impression that this font is so luxurious for your design. Stoilen is ideal for design, logo design, blog graphics, style quotes, wedding stationery, art prints, additional design, packaging, social media, magazines, fashion, creative branding, editorial design and web designing. Features a Latin character set of more than 500 glyphs covering various languages, and includes advanced open type features such as standard and discretionary ligatures, positional numbers, style alternatives, and so on. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. And this has given PUA Unicode Fonts (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Features : Lowercase and Uppercase Stylistic Alternates & Discretionary Ligatures Numerals & Punctuations Accented characters Multilingual support Don't forget to check out other cool fonts in our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Jasna is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Jasna supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Jasna Font is available in two weights, Jasna Regular and Jasna Bold. Jasna design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Jasna is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today's technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Jasna's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Jasna was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Digital designs seldom show personal touches to make them stand out and to give unique displays. Generic fonts are no longer enough to do so. You need something special to make great impacts on your work. Therefore, a handwritten font can be the perfect solution to such a necessity. This is the Mightiest Autograph. Mightiest Autograph is a handwritten font in a signature looking style to add elegant, personal nuances on your designs. The curves and wipes in the swinging ends of the letters are the main characters. Like the other cursive fonts, each letter is connected to one another to make the font legible. The letters’ proportions are made different for a more artistic looking style applicable for such romantic texts. You can apply this font for any text sizes due to its great legibility. Additionally, you can enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Mightiest Autograph fits best for various design projects, such as brandings, posters, banners, invitations, greeting cards, magazine covers, quotes, printed products, merchandise, logos, 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.

Buntype’s new Bunday™ Sans Font Family consists of four main states with different moods: the crisp and distinctive sans, the cute script styled upright and the matching italics (these upright styles are currently not available). All states of Bunday™ Sans share the same contemporary, clear and open base forms and create a space-saving and homogeneous text colour. Despite the fact that the overall width is space-saving or narrow, Bunday™ Sans offers good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media.  Bunday™ Sans ships with 9 standard, 9 upright italic, 16 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more.  Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Sans Specimen PDF Bunday Sans OpenType® Quickguide Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 4 Moods: Sans, Upright, Sans Italic and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Available only in applications with advanced OpenType® support

Creepy Tales is a spine-chilling display font that will send shivers down your spine. With its big letters and bold weight, this font demands attention and exudes fear. The horror theme is brought to life with meticulously crafted dripping ink details on each letter, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, making a powerful statement in your designs. The large size of the letters further intensifies the font's haunting presence. The dripping ink details in this font give the font an organic and unsettling appearance, as if the letters are oozing with dread. These haunting details add a sense of macabre and create an atmosphere of suspense, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Creepy Tales fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. 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.

Spaclar is a captivating display font with a game-themed design, featuring uppercase letters with consistent proportions and rectangular shapes with sharp corners. This font shows uppercase letters with uniform proportions, ensuring a clean and balanced visual experience. Each character maintains the same size and shape, resulting in a cohesive and harmonious composition. This design choice creates a sense of order and precision, reflecting the strategic nature of gaming. The rectangular shapes with sharp corners in Spaclar add a modern and futuristic touch to the font. The clean lines and defined angles exude a sense of sleekness and sophistication, reminiscent of advanced technology and sci-fi aesthetics. This unique feature adds an element of visual intrigue, making this font the perfect choice for game-related designs that embrace a cutting-edge atmosphere. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Spaclar fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other game-themed projects. 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.