Go Pixel is an exciting game-themed display font designed in uppercase, capturing the essence of retro pixel art. The consistent proportions of this font create a harmonious and balanced visual experience. Each uppercase letter is crafted with precision, ensuring uniformity and maintaining the overall aesthetic appeal. This design choice guarantees that every character fits seamlessly together, resulting in a cohesive and visually pleasing typographic composition. The uneven borders of Go Pixel add a touch of vintage charm and quirkiness to the font. Each letter is outlined with varying thickness, mimicking the imperfections found in retro pixel art. This unique feature gives the font a distinct personality and captures the nostalgia of classic video games. With low contrast, it embraces a softer and more subtle approach to readability. The slight variation in stroke width allows for a smooth and comfortable reading experience. While the low contrast may be unconventional, it enhances the overall retro feel of the font, immersing your audience in the world of classic gaming. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Go Pixel fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any projects that aim to evoke a sense of fun and nostalgia. 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.

Deva Ideal was inspired by women’s beauty. It didn’t come only from the desire to create a new typeface. It also seeks to materialize beauty in a visual form. Instead of imitating the shapes of the female body or other formal attributes, Deva Ideal is an abstract expression of the women’s beauty. The unique character of the typeface is achieved by the use of soft, almost invisibly bent strokes, since one of the priorities of the typeface is not to disturb the eye of the reader with odd design details. Deva Ideal excels in her cold beauty and shows her sex appeal. The soft curves present in Deva Ideal differ from the masculine and technical shapes used in most contemporary typefaces. Deva Ideal has ideal proportions (90 / 60 / 90) and its shapes are essential and simple. Because of this, it is ideal for setting text in all kinds of printed matter: catalogues, books and magazines. The letter forms are wide and open, so text can be set in small sizes and thus space can be saved, while keeping the same degree of readability. The author wishes to acknowledge František Štorm for his invaluable opinions. Also to Palo Bálik and Peter Bilak for their contributions. I am specially grateful to all the devas (archaic expression for beautiful young girl), who inspired me to design this typeface. This is dedicated to Janka Ráczová, Jarka Krajčiová, Mariana Felgueiras and obviously to Martinka Filípková! Every use of Deva Ideal is a little homage to these interesting women.

Introducing Gunec, a cutting-edge and futuristic font ideal for technology- and science-related designs. Gunec is the ideal choice for anyone looking to add a touch of futurism to their work thanks to its distinctive letterforms and svelte lines. The versatile font Gunec can be used for a variety of tasks, such as branding, packaging design, book covers, and more. However, Gunec is more than just a pretty face. This font is ideal for all of your design projects, from print to digital, as it is made to be highly legible and simple to read. Additionally, Gunec has all the elements required to produce a comprehensive and professional design, including a full set of upper- and lowercase letters, punctuation, and numerals. With Gunec font, you’ll be able to create designs that are both stylish and professional, with a futuristic look that’s sure to stand out. This font is perfect for those who want to be ahead of the curve in design, and for those who want to add a touch of innovation to their work. So don’t wait, make Gunec your font of choice today, and take your designs to the next level! What’s Included : - File font OTF, TTF, WOFF, WOFF2, CSS, HTML - All glyphs Iso Latin 1 - Alternate - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Ordinary Boys - Elegant Font Duo is a delightful and versatile font combination that consists of a modern sans-serif font and a playful handwriting font. With a perfect blend of modern elegance and fun, this font duo offers creative possibilities for various design themes. The sans-serif font exudes sophistication and is ideal for modern and elegant projects, while the handwriting font adds a playful and enjoyable touch, perfect for fun and lighthearted designs. Whether you're creating logos, headlines, titles, invitations, greeting cards, printing materials, or designs for children, Ordinary Boys will bring charm and character to your projects. The modern and playful style of Ordinary Boys is what sets it apart. The sans-serif font showcases clean lines and a sleek design, conveying a sense of elegance and professionalism. On the other hand, the handwriting font injects a fun and whimsical vibe, adding a touch of enjoyment and personality to your text. The versatility of this font duo allows you to seamlessly switch between elegant and playful designs, making it suitable for a wide range of projects. Ordinary Boys - Elegant Font Duo brings the best of both worlds to your design projects. Its unique combination of modern elegance and playful fun allows you to create a diverse range of designs, catering to different themes and styles. Whether you're designing for sophisticated brands or playful children's themes, Ordinary Boys will elevate your designs with its charming and delightful touch, making your projects truly stand out with its versatility and character.

As designers, we seek perfection and originality. The more we step back and look at our work, the more changes we tend to find necessary. Drastic modifications are inevitable. The same is true of Grayfel. Grayfel began as an exercise at insigne to explore the crowded space of neutral sans. While the world of sans serifs is admittedly crowded, I still managed to find something new and different. The final Grayfel consists of 42 full-featured OpenType fonts containing three widths: Regular, Condensed, and Extended. Every width consists of 14 fonts--seven weights with matching italics, making it a good companion for setting clear text and headlines for print and screen. OpenType features are also available. There’s figure choices, such as proportional and old style figures. Additionally, Greyfel includes sophisticated typographic attributes: ligatures, fractions, alternate characters, small caps, superscripts and subscripts. Its extended character set supports Central, Western and Eastern European languages. Optical compensations also mean the outcome of this family is a hybrid of humanistic proportions. It’s a well-finished design with optimized kerning gives it a friendly look. If you like sans serifs within the tradition of Futura, Helvetica, Avant Garde and Avenir, then you’ll love Greyfel, too. Grayfel works well in a variety of applications. Subtly neutral yet fun, it’s suitable for headlines of all sizes as well as for text. Put it to the task for marketing, packaging, editorial work, branding and even on-screen projects. Try it out: it’s not just fun and playful; it’s Grayfel.

I saw a cool UT-Ligature on an old (maybe 70's or 80's) Texas Longhorns fan-shirt - it was in 3D and I wanted something like that with my own initials A and B to print it on a baseball hat. I started drawing it and when I was finished, I thought it might be nice to do the same for my officemates. I needed another G, T and K. After finishing that I thought it might be cool to do this for other people as well. Since the source of all the 3D glyphs is found in the regular ones which get moved by a 45 degree angle and then connected with lines , I first draw all the uppercase regular glyphs. The thing that followed was kind of an addiction: after finishing the uppercase letters, I wanted to add lowercase letters, after finishing the 3D letters, I thought it would be nice to have a fill version to layer with the 3D letters. Having a rough, woodcut version of the regular style would be cool, too. And the font is also pretty much suited to make a stencil version. When all this was done, I was interested on how the font would look like without the serifs and curves instead of the 45 degree angles, so I did the Longhorn Sans. Good to use for all sports-related designs, especially retro-style soccer/football shirts. Uppercase characters can be combined to form ligatures or logotypes.

If you still think that an antiqua is a typeface with a strong historical character that difficult to apply in modern realities, meet the new typeface from TypeType! TT Livret is an elegant, modern and functional antiqua featuring a calm text and an expressive display subfamily. TT Livret useful links: Specimen | Graphic presentation | Customization options This font looks harmonious in books and other periodicals, on posters or on magazine covers. The scope is not limited to the printing industry, because TT Livret looks aesthetically pleasing wherever text is used. The text subfamily has uniwidth proportions and a calm spirit, oval round characters, free spacing and more open apertures. The glossy display subfamily is proportional and has round signs that are as close to a circle as possible, the apertures are closed, and the spacing is dense. The font has an intermediate subfamily - Subhead, which can look more relaxed when used as text font, or be contrasting and used as a display font. In TT Livret, we have embodied the idea of ​​an antiqua that will be comfortable to use in modern realities. This is a functional font, where the text face does not distract from reading, and the display face, on the contrary, attracts attention. The TT Livret font family consists of 32 faces: 15 upright, 15 oblique, and 2 variable fonts. Each face has 1031 glyphs. The font contains 26 OpenType features, as well as a large number of ligatures. There are many alternative characters in italics, which are especially diverse in Cyrillic.

Elevate your design projects with Cooker Cake, a vibrant and playful sans serif display font. With its charismatic style and versatile nature, this font adds a touch of excitement and creativity to any typography-based endeavor. Whether you're designing logos, posters, headers, or website elements, Cooker Cake will captivate your audience and make your text pop. Cooker Cake features all capital letters, giving your designs a bold and impactful appearance. The font also includes a wide range of numbers and punctuation, ensuring that your compositions are complete and functional. Its multilingual support allows you to incorporate various languages seamlessly, making it ideal for global projects. One of the standout features of Cooker Cake is its PUA (Private Use Area) encoding. This means that you have access to additional special characters, glyphs, and ligatures, expanding your creative possibilities and enabling you to add unique flourishes to your designs. Let your imagination run wild as you explore the various alternates and stylistic options available in this font. With its sans-serif style, Cooker Cake strikes the perfect balance between modern aesthetics and a playful vibe. It works harmoniously in both digital and print formats, making it suitable for a wide range of applications. From branding and packaging to social media graphics and advertising campaigns, this font will bring a sense of joy and energy to your projects. Experience the versatility and captivating charm of Cooker Cake Sans Serif Display Font. Let its playful and dynamic personality infuse your typography with excitement.

Xaver Grotesk Variable, a font that emerged in the creative landscape of 2023, stands as a testament to contemporary typographic innovation. This font is not just a mere collection of characters but a meticulously crafted expression of modernity and sophistication. Its genesis was driven by a desire to infuse the typographic realm with a fresh take on the classic grotesque style while embodying a technical allure that whispers of a slightly futuristic essence. At its core, Xaver Grotesk is a testament to the marriage of form and function. The deliberate choice of monospacing adds a unique rhythm and structure to the font, instilling it with a sense of order and balance. The low capital height introduces a distinctive visual characteristic, creating an unconventional yet captivating silhouette that stands out in various design contexts. One of the font's most striking features lies in its letter design. Each character is meticulously sculpted, bearing angular and horizontal traits that not only convey a sense of modernity but also evoke a hint of technological precision. These angular and horizontal elements work in tandem, shaping the font's overall personality and lending it a forward-thinking edge. The fusion of these elements—monospacing, low capital height, and angular/horizontal letter design—creates a harmonious interplay that sets Xaver Grotesk apart. It's not merely a collection of letters; it's an experience, a visual journey that captivates and engages the viewer. Whether used in digital interfaces, printed materials, or other design mediums, this font transcends its utilitarian purpose to become an artistic statement in itself.

Mono-Spec is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width. That fixed setting is condensed, and the aesthetic style of Mono-Spec’s letterforms is very industrial. A sister family, called Mono-Spec Stencil, is also available. Its design strays away from the mechanical nature of Mono-Spec, and it channels the spirit of resistance and street culture. Mono-Spec ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. 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 Mono-Spec 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. Whatever format you choose, the Mono-Spec fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Sherbrooke is a simple and sans serif font. I have chosen the name of this typeface after the "Sherbrooke" Street in Montreal, Canada, that I daily walked in for several months in the late 2005 while I was studying in Montreal, Quebec, Canada. I do adore this street and also I adore the whole city of Montreal. This font comes in two different weights. "Sherbrooke" can be used in wide fields of publications such as the titles of novels, literary texts, short stories, dictionaries, books, newspapers, websites, and magazines. It is suitable for T-shirts, mugs, advertisement light boards in malls, subtitles of movies, logos, cans of foods, and medicines' names. The font is more attractive when it is printed in calendars and for displaying the contents and paragraphs of electronic encyclopedias and different online websites. "Sherbrooke" is specifically designed for educational, journalistic, literary, and social purposes. The main characteristics of "Sherbrooke" Typeface are in its sans serif new designed letters and also in its lowercase special numerals. I think that these characteristics have made "Sherbrooke" exceptionally unique with its alphanumeric combinations. You can enjoy this typeface and use it anywhere at any product or service. It is simply gratuitous for all. The word "Sherbrooke" is a person's name. Sherbrooke Street - officially Rue Sherbrooke - is a major east-west artery at 31.3 kilometers in length and it is the second longest street on the Island of Montreal in Canada. The street is named for John Coape Sherbrooke, the Governor General of British North America from 1816 to 1818.

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.

Clinto Sans Serif Clinto Sans is a simple geometric sans serif font Clinto Sans are constructed using basic geometric shapes such as circles, squares, and triangles. The letterforms are based on simple geometric proportions, resulting in a consistent and harmonious visual rhythm. Clinto sans serif fonts embrace simplicity and have a minimalistic approach. They aim to reduce letterforms to their essential elements, eliminating any unnecessary embellishments or flourishes Clinto Sans also has Straight Lines and Clean Edges. Clinto Sans also have open apertures, which refer to the space enclosed by the curved or diagonal strokes of certain letters like "a," "e," "g," and "s." The open apertures contribute to legibility and readability, especially at smaller sizes. Special features: - Ink trap Ink traps are small recessed areas or notches incorporated into the corners or junctions of letterforms. They were originally designed for letterpress printing to prevent ink from filling in and distorting the shapes, especially at small sizes. However, in modern digital fonts, ink traps are often used as a design element to add visual interest and maintain legibility at small sizes or in low-resolution environments. - Alternates Stylistic alternates offer alternative shapes or forms for certain letters in the font, a, e, g, and r, etc. Stylistic alternates can be accessed through OpenType features in design software. OpenType is a font format that allows for advanced typographic features and character substitutions, you can access the alternate letterforms through the glyphs palette or the OpenType panel in their design software and apply them selectively to specific letters. Thank You _

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

You may want your designs to look sharp, professional, and interesting without exaggerations, but how would you do it amid the abundance of font options available to choose? Rainbow Night is a perfect answer to your design needs. Rainbow Night is an elegant, prominent display serif font to attract everyone who sees it. A serif font is a font with hooks and tiny scratches attached to the letters’ edges. The huge serif size adjacent to each other in such a font makes the letters look heavier. Moreover, this font is deliberately created in thick lines and strong contrasts as the characters of a display font to produce strong visual displays. Generally, such a display serif font can show elegant, classy nuances to assign a strong identity to the brand, to stand the desired messages out, and to get the messages easily recognized by readers. You can apply this font for various text sizes due to its great legibility. In addition, you can make use of the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rainbow Night fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Swiss 721™ is a sans serif family that ranges in style from thin to black while mixing in a few unexpected, but beautifully made and ironically flattering, outline weights that spice up the grotesque design. Couple these upstanding letterforms with matching italic styles and you have yourself a beautiful tool that is as legible on screen as it is off, has the technical prowess to conquer even the trickiest of design riddles and will work in a myriad of projects. Swiss 721 is a staple sans serif that you’ll never be sorry you have in your library. It’s been said that a simple sans serif is one of the most difficult typefaces to design. This is because when letters are reduced to their most basic details, irregularities and inconsistencies in design become immediately visible. The Swiss 721 typeface family is a quintessential example of letterforms distilled to their essence while still possessing warmth and verve. Based on mid-century sans serif typefaces, Swiss 721 is a versatile family of weights and proportions ideally suited to a wide variety of print and interactive design projects and is equally at home as headlines on billboards as it is navigation content on small screens. Swiss 721 takes the essence of mid 20th century sans serif typefaces and melds it with modern design consistency and a systematic weight range. OpenType® fonts of Swiss 721 also benefit from a rich character set and a range glyphs supporting most Western European and many Eastern European languages.

Night Light is a specially created collection of seven neon inspired fonts giving designers the power to replicate traditionally hand-made lettering from the comfort of their own computer. Choose from the selection of script, sans serif and outline fonts to set your text. Then apply our custom graphic styles for a life giving jolt of electricity! The appeal of neon lettering lives in its power to display a message in a functional, eye-catching and timelessly cool way. How many times have you stopped in the street to admire a bar sign or shop front blazing with neon colors? It's aesthetic works equally well for a Hot Dog stand or high-end fashion brand, providing a tried and tested technique for grabbing customer attention. I've designed these fonts to make the power of neon accessible to all, investing time to research real neon signs and how they are made, paying attention to their human imperfections and inherent limitations (all of which makes them). This research has been distilled into these essential styles; Script, Outline, Inline, Square and Compressed. These seven core fonts give designers a new opportunity to take advantage of realistic neon lettering in their print and online projects, perfect for music promotion, film titles, YouTube tutorials and gig posters. Ready to be moulded to any requirement, the power of neon is in your hands. Neon Graphic Style Presets Available Here The link above provides access to the graphic styles seen in the visuals with support for Adobe Photoshop, Adobe Illustrator, Adobe After Effects. Simply download and follow the instructions provided.

Stubble is a distressed grunge font with many useful variations that make things easy. It comes in both a Regular and Bold version, and a Smudged version as if the print block has slipped a little bit just at the vital moment. Also there’s 2 jumbled versions with the letters and numbers, and some punctuation, at odd angles and slightly off-whack; there’s 2 versions with little bits of overprint on most of the main characters (as if the corners of the block or stamp have just caught the paper); a couple of Caps Only versions; plus condensed and expanded versions of the main faces. The Bold version is not an exact expanded version of the Regular version, please note, the characters are different (i.e. the misprinting is different) in the two weights. Western and Central European accented characters are included, and there’s a set of replacements for double-letter combinations such as bb, dd and OO, TT, so that 2 different letters will appear - which avoids having exactly the same grunge letter appearing twice in succession (20 or more pairings for each case, all the pairings that reasonably exist) which work as ligature replacements. The whole family constitutes a comprehensive package that offers a great variety of ways of presenting a grunge typeface for display, headlines and posters, while maintaining the thread of the same sans-serif style. The zip package contains both the TTF and OTF versions of the font. Install only one version on the same machine, installing both versions may produce all sorts of erratic behavior.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Bonyad font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. Bonyad is a modern Sans Serif font family.The Bonyad innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Bonyad supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Bonyad Font family is available in six weights; Thin, Light, Regular, Demi Bold, Bold and Heavy. Its intuitive design arrangement fulfills the following needs: It is precisely crafted for use in electronic and print media. Bonyad 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. Bonyad 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. Bonyad's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. Bonyad is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. Bonyad uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Bonyad typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

The life of Molière is a story of struggle, hard work, domestic unhappiness, death and burial in obscurity and almost in shame. Molière left behind a body of work that not only changed the face of French classical comedy, but has also come to influence the work of other dramatists from around the world. Despite his own preference for tragedy, which he had tried to further with the Illustre Théâtre, Molière became famous for his farces, which were generally in one act and performed after the tragedy. Both the comic and the serious drama were powerfully affected by the work of Molière, not only in his own age and country but everywhere and up to the present time. Didot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784–1811. Firmin Didot cut the letters, and cast them as type in Paris. Along with Giambattista Bodoni of Italy, Firmin Didot is credited with establishing the use of the "Modern" classification of typefaces. The types that Didot used are characterized by extreme contrast in thick strokes and thin strokes, by the use of hairline serifs and by the vertical stress of the letters. As in the extreme contrasts of the literature of Molière, in Didione's typefaces, thick and thin strokes, straight and curved, are the most relevant characteristic for an era marked by the changes.

The “Daily Routines” Handwritten Display Font is a delightful and charismatic typeface that effortlessly captures the essence of casual elegance. With its carefully crafted strokes and artful imperfections, this font exudes a sense of handmade authenticity that is both inviting and versatile. Designed with meticulous attention to detail, “Daily Routines” showcases a harmonious blend of playful curves and well-balanced letterforms, making it a perfect choice for projects that seek to strike a harmonious balance between approachability and sophistication. Its smooth and flowing lines lend a sense of fluidity and ease, evoking a feeling of effortlessness and natural rhythm. The irregularities in each letter lend a unique charm, reminiscent of handwritten notes penned with care. The “Daily Routines” Handwritten Display Font is specifically tailored for projects that demand a warm and friendly touch, such as invitations, greeting cards, product packaging, and branding materials. It easily conveys a sense of personal connection, making it ideal for conveying heartfelt messages or highlighting the human element in design. Whether utilized for digital or print media, this font ensures legibility and readability, even in smaller sizes. Its captivating appearance adds a touch of personality to any text, making it stand out while retaining a sense of tasteful subtlety. Embrace the captivating allure of the “Daily Routines” Handwritten Display Font to infuse your designs with a genuine and endearing character, elevating them to new levels of aesthetic appeal and resonating with your audience on a profound level. If you have any questions please don’t hesitate to contact me follow my Instagram: fkryall Thank you

It is significant to have a unique font to create impressive, impactful designs because people often forget common things which may cause your work to be forgotten as well. You may have lost your candidate customers even before they know your brand and product. Let us introduce you to Chocoball, a font with firm impressions to protrude your designs. Chocoball is an uppercased display font designed in playful, modern concepts. It has firm, attractive impressions because of the inclined square letter shapes making it more unique than the others. Furthermore, it can show off your desired messages on your designs easily with the use of the uppercases. Besides, this font is able to build up a strong, recognizable brand identity. A playful display font is flexible and suitable for various design types as its advantage because it is applicable for either formal or informal designs producing interesting, consistent results. You can apply Chocoball, which gives you a clipart as a bonus, for big text sizes to be legible. You can enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Chocoball fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

FF Signa Rounded is a natural complement to the rest of the FF Signa super family – and can stand on its own in a variety of print and on-screen applications. The design is Ole Søndergaard’s rounded branch in his FF Signa family three. In it, he took the distinctive shapes and proportions of FF Signa Sans and created a warm, inviting design for text and display copy. Like its parent design, FF Signa Round is not a humanistic sans, nor is it based on 19th-century grotesques. Its characters are minimalist interpretations of letterforms – distinctive, yet easy to read. Thanks to FF Signa Round’s large x-height, open counters and simple character shapes, the design does not overpower the message – and draws the reader in. At substantial sizes, especially in the bolder weights, the design communicates with amiable conviction. At text sizes, FF Signa Round remains inviting and legible. It can be used as a companion to the rest of the FF Signa family, providing depth of style and breadth of reach. The collection of designs can also be used on their own for brand, brochure, publication, and way-finding design in digital and hard copy environments. Like the rest of the FF Signa family, OpenType® Pro fonts of FF Signa Round provide for the automatic insertion of ligatures and alternate characters, and also offer an extended character set supporting over 100 languages, including most Central European and many Eastern European – in addition to Cyrillic and Greek.

Mintely is a sophisticated and versatile serif font family designed to elevate your typography to new heights of elegance and legibility. With its 6 style variations and 8 weight options, this font offers an extensive array of choices to suit a wide range of design projects. This family combines classic and modern elements, resulting in a timeless design that can adapt to various design contexts. The 6 style variations in this serif provide you with a variety of typographic options, allowing you to experiment with different looks and moods. Whether you need a sleek and minimalistic appearance or a more decorative and ornate style, Mintely has you covered. Additionally, the 8 weight options in Mintely offer a wide range of possibilities in terms of contrast and emphasis. From thin and elegant weights to bold and impactful variations, this font family ensures that you can effortlessly find the perfect weight for your specific design needs. Because of its legibility you can use this font in a variation of text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mintely fits in headlines, logos, posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any 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.

In designing the Millenium® typeface, Patrice Provost was inspired by great typographers in the great French typographic tradition to create a unique and modern variable font. His goal was to reinterpret the mid-20th century sans serif style in a variable typeface that will conform to the need of the 21st century. He succeeded with mastery in drawing large characters. In doing so, patrice provost added an exceptional dimension to the design of this typeface, a graphic personality that evolves over the styles. The attention to detail brought to each letter, each accent, each diacritic, make this font a solid tool for all Western graphic designers and layout artists. With more than 1000 glyphs per style, Millenium® can be used in more than 210 countries. With its 13 styles drawn in Classical Roman style, in Italics and in condensed Millenium® provides designers from all walks of life with a fantastic tool to bring novelty and class to your creations. Ideal for signage, Millenium, thanks to its "wide case", is also widely used for posters. It is also a gold mine for creating logos for dynamic tech start-ups. The Millenium family is made up of designs with progressive weight changes. it is very extensive. It ranges from "Super Thin" to "Extra Black". Unique in the world, its thinness makes it possible to design a very light style even to print on posters and other large formats. Designed from the outset as a variable typeface, Millenium offers a range of 900 possible variations and an infinity of creations...

Sehatie Script is a contemporary calligraphy font that dances up and down the baseline. which comes with a wonderful alternative. It has a casual and elegant touch. This font is PUA encoded which means you can access all the glyphs and sweeps easily! Works perfectly for logos, fashion, stationery, printing press, magazines, menus, books, invitations, wedding/greeting cards, packaging, labels, clothing, marketing, etc. Sehatie Script features 580+ glyphs and 350 alternate characters. includes initial and terminal letters, alternatives, ligatures and multiple language support. Files include: Sehatie Script One (otf) Sehatie Script Two (otf) Sehatie Script Three (otf) Sehatie Script Four (otf) To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. and there are additional ways to access alternatives/swashes, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to Access Alternate Characters in Photoshop CC. https://www.youtube.com/watch?v=xFlMwARHusY How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to use the font style set in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs How to Use OpenType Fonts in Silhouette Studio or Cricut Design Space: http://cuttingforbusiness.com/2016/01/28/how-to-use-opentype-fonts-in-silhouette-studio-or-cricut-design-space/

Introducing Popwave - a vibrant and playful font pack containing 5 unique fonts that are perfect for adding a touch of modern pop and groovy style to your designs. This versatile font pack includes a boxy font, a boxy rounded font, a script font, a narrow font, and a sans-serif font - providing you with a range of options to choose from. The boxy font has a bold and boxy design that exudes a sense of confidence and strength, while the boxy rounded font features rounded edges that give it a more friendly and approachable feel. The script font is elegant and fancy, perfect for adding a touch of sophistication to your designs. The narrow font is sleek and modern, with a slender design that creates a sense of space and clarity. Lastly, the sans-serif font is simple and clean, making it perfect for adding a modern touch to any design. Each font in the Popwave pack has been carefully designed to create a fun and vibrant style that's perfect for catching the eye. The fonts are playful and modern, with a touch of retro charm that makes them perfect for a variety of projects. The Popwave font pack also supports multiple languages, making it the perfect choice for designers who need to create designs for a global audience. So whether you're designing for print or digital media, the Popwave font pack is the perfect choice for creating modern, fun, and playful designs that are sure to stand out.

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojtěch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author’s creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also Růžička’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

FF Fago Thanks to his many years of involvement in major corporate type projects, Ole Schäfer had the necessary resources from which to construct his FF Fago™. The result is an extended family that provides comprehensive typographic support and whose qualities come to the fore in all relevant contexts ? from print to office through internet and wayfinding systems. FF Fago The sizable x-height together with the generous and open design of the characters ensure that the sans serif Fago remains clearly legible even in small point sizes or in potentially difficult situations, such as on wayfinding systems. A subtle contrast in line weight and letter forms that are reminiscent of those of an antiqua typeface provide the font with a restrained yet friendly and lively tone. Available in five weights, each with three different kerning widths and matching genuine italic variants, FF Fago is equipped for practically every situation. There are also small caps, oldstyle and lining figures, a selection of ligatures and geometric symbols. The range of potential applications of this universal font is almost inexhaustible ? it can be used in packaging design, on signs, posters and even for setting longer text sections. Fago is the ideal partner for those working on major corporate projects! FF Fago Correspondence Sans und Correspondence SerifThe Correspondence versions of Fago have been optimized for use in the business environment and in office communication. The carefully modified characters have a particularly robust feel, so that the clear, easily differentiated glyphs allow for straightforward communication even on screen. With these aims in mind, Schäfer has not only adjusted the x-height, but has provided certain letters in the sans variant ? such as the lowercase "i", the "r" and the uppercase "I" ? with serifs. Correspondence Serif, on the other hand, has been conceived as a slab serif throughout and in appearance has the look of the letters produced by the old office typewriting machines. An individual note has been added by providing a few unusual serif forms, as for example in the case of the "m", the "v" and the "y". Both Correspondence Sans and Serif are available in two weights with complementary italic versions and thus are ideally suited for use with standard office programs. This is all rounded off with a selection of office symbols. FF Fago Monospaced The use of a few typographic tricks is necessary to ensure that the letters of the alphabet appear to have the same width. Narrow letters such as "r" and "i" have been made to seem more expansive by using prominent serifs while the broader letters ? a good example is the "m" ? have the forms seen in a condensed font. And it is thanks to this design strategy that Fago Monospaced has the character of old typewriter text. What was once unavoidable because of the technology of the time is now a welcome alternative that can be used for the purposes of emphasis. As an additional supplement to the Fago superfamily, Fago Monospaced can be used, for example, to set short notes or draw attention to special text passages. There are three weights, in their original form without italic variants or small caps, but offering an alternative, technical form of the "0" with a crossbar.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

The starter point of the Wienerin typeface is based on the work of Austrian designer and artist Carl Otto Czeschka who was part of The Wiener Werkstätte, an early twentieth century association of designers, architects, craftsmen, ceramists, jewelers and other graphic arts in his country. This collective of artists was influential for both Bauhaus, art deco and Scandinavian design. Wienerin is a revision and expansion of the Olympia typeface designed almost 100 years ago by Czeschka but adapted for contemporary use with the inclusion of numerous alternative signs and ligatures. Variable font technology allows a greater variety of weights to be achieved. One of the features of the original design was the inclusion of "eifassungen" or modules to create frames. Wienerin presents a repertoire of 500 in 3 weights. With an upward elongated design we have decided to also create a version of the typeface with a larger x-box that allows for a wider use of the typeface family. Because of its contrast it is ideal for use in delicate design pieces such as editorial design, elegant labels, stationery and fashion. All styles of the Wienerin typeface family cover most Latin languages.

Samman is a Kufic simple Arabic typeface. It can be used to decorate public signs in streets, airports, hospitals, schools, malls, hotels, mosques, and other public places. My family's surname is "Samman" which stands for the person who sells fat especially the one produced by cows ("Samn" in Arabic). Consequently, "Samman" Typeface was designed for eternizing the memory of my family. The main characteristic of "Samman" Typeface is the leaf-shaped style for some of its Arabic characters such as "Dad", "Sad", "Faa", "Meem" and others. The distinguishing artistic design of its "Haa" character adds a unique feature to this typeface especially when connected with other characters. The shape of the characters' "dot", "dots", and "point" is innovative; a triangle with a semi-circle shape. "Samman" Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its characters' modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitions' signboards and external or internal walls of malls or metro's exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

Bold, black and square. But was first drawn as a logotype for the magazine "BUT – Bilder und Texte" (pictures and texts) which was published by an experimentally-oriented non-commercial initiative. In consideration of the unusual dimensions of the magazine (6 x 14 cm / 2,4 x 5,5 inch), I decided to fill as much space as possible with the body of type. This formal idea refers to the meaning of the title by blurring the border between legible letters and abstract shapes. Because of its origin, But is ideal for short messages in headline point size. Despite its blocky shapes, But creates a friendly atmosphere. The details are as playful as the restrictions that are given by the concept allow them to be. Punctuation marks and other special characters contrast the boldness of the design since they are matching the thin parts of upper- and lowercase letters. This also avoids gaps when longer texts are set. But is available in open type format and has an extended character set (Latin extended A). Two sets of numerals, one matching the x-height and another one matching the cap-height, are provided.

Directors Cut Pro is a compelling new font series designed by Alex Kaczun. It recently won the second place—a commendation in the Canberra Typeface Competition. This handsome Geometric Antique serif design is based on the early 19-century Moderns and Scotch styles, infused with the warm charm of traditional antique, added for interest. Capturing the best of both ages: it's warm, comforting and persuasive. Directors Cut Pro's graceful aspects naturally invite uses at large sizes, for which we have created a stunning and elegant lighter weight. But, this workhorse typeface series incorporates a solid regular weight, along with its italic—ideal for a multitude of text purposes, at varying point sizes. A robust Bold weight is available for headlines and emphasis. Director Cut Pro comes with proportional as well as tabular lining figures for quickly setting up charts and tables. It also contains an extended character set—including most Central European languages. Alex Kaczun is in the process of expanding this typeface series to include additional weights, styles and proportions. Stay tuned! The large Pro font character set supports most Central European and many Eastern European languages.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

The signs of the Bosnian pyramids The pyramid researcher, Semir Osmanagic, began excavations in 2005 in Visoko, Bosnia, 30 km North from Sarajevo. Mr. Senad Hodocic, the curator at the local museum, pointed out at the pyramidal shape of the Visocica Mountain, which grabbed Osmanagic's attention. It is also suspected that the four adjacent hills, covered by plants and greenery, also hide the pyramids. The main sites of the excavations are called the Pyramid of the Sun and the Pyramid of the Moon, and the results achieved so far have already proved that those structures are man-made and artificial. The Pyramid of the Sun is bigger and older than the pyramid in Giza, which was built by Pharaoh Cheops 4600 years ago. Gábor Szakács, who went to the site in June 2006 for the first time, found the symbols on the megalithic blocks inside the tunnel of the Pyramid of the Sun, which correspond to the ancient Hungarian runic writings. Further information about the Bosnian Pyramids is available at the website http://www.piramidasunca.ba/. There are also researchers who do not accept the subject of the Bosnian pyramids. Time will tell the truth.

Boatman Font – 3 Styles + Extras We introduce our new font called Boatman. Boatman is a (All Caps) vintage display font inspired from classic whiskey labels, vintage labels and sing painting. Boatman comes with 3 styles (Regular, Outline and Stamped) that extends the possibilities when you design something. Boatman also has the Stylistic Set. With the Stylistic Set, Boatman gives you so many options to create something awesome. Mix and match the alternate characters to add an attractive message to your design. Furthermore the Boatman includes a Set of Ornament Labels which perfectly complement text compositions. You can see it on my presentation examples. Boatman is great for Logotype, Branding Design, Logo Design, Badges, Digital Lettering Arts, T-Shirt/Apparel, Headline, Posters, Magazine, Signs, Advertising Design, and any vintage design needs. Boatman Features : - All Caps Characters, Punctuation, Numerals. - Opentype Feature such as Stylistic Set. - Fully accessible without additional design software. - Includes a range of multilingual characters. - Ornament Labels You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y