Black Rose is the plain version of an old Bruce Type Foundry font called “Black Ornamented” created in 1873.

Ciento is a multi purpose sans serif, inspired in old style typefaces, have 5 weights and four stylistic sets.

Based on custom design work by DTP Types Limited in 1992 with associated Small Capitals and Old Style Figures.

Carved in stone or wood? this old looking typeface will be great for signage, posters and short texts too.

Collegiate is a full font based on the lettering around an old mosaic tile badge at Liverpool Collegiate School.

Estandar is a retro and vintage wayfinding sans serif font, inspired by old signal in central park and Europe.

Dinner is a family of novelty fonts in which the characters are formed from spoons, forks, and knives. Dinner-Regular was designed in 1990, one of the earliest fonts in the IngrimayneType collection. It contains a mixture of knives, forks, and spoons and the lower-case letters are smaller versions of the upper-case letters. In 2021 the family was expanded with Dinner-Knives in which all characters are formed by arranging knife shapes, Dinner-Spoons in which the characters are formed from spoon shapes, and Dinner-Forks in which the characters are formed from fork shapes. All three are caps-only but the characters on the lower-case keys are alternate versions of upper-case letters . Dinner is a decorative display family that needs to be used at a large size. The logical place to use it is for food-related items.

I always admired the beauty of Gothic letters, but lamented their low readability. The revivals of Gothic faces are beautiful, but they revive everything, including the traits that prevent readability. Blackletters are fine in ads and titles, but can’t be used in long texts (like books on Middle Ages, Medieval romances etc) where they would be the perfect historical choice. And I wanted to change this scenario. With Giureska, instead of taking one particular face to revive, I chose the best traits from many Gothic faces, i.e. the forms that were pleasant to look and easy to read. For the ‘small caps’, I studied uncial scripts and made a similar selection, adapting everything to make a unified font. With three weights, true italics and the uncials, Giureska can endure a variety of projects, bringing the appeal of Middle Ages much beyond the cover.

Ark is a combination monogram set based on the ATF Virkotype design. By combining variously shaped characters, you can produce initials within an oval frame. Just select a left-hand letter, a center letter, and a right-hand letter. Then place all three on an oval frame of your choice. Great for stationery and company logos. The Ark Monogram Set comes with easy-to-read instructions and a useful character map. Additional alternate characters have been provided for better identification and letter fitting within each font. Ark Monogram is now available in the OpenType Std format. Some new stylistic alternates have been added to this OpenType version. Advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

OHG is pleased to announce the release of Tynne 2.0, now with two new out-line, drop-shade fonts which work independently as attractive display faces in their own right or one layer of a two layer, chromatic typeface. In addition, kerning and letter spacing have been adjusted and improved to ensure all characters will line up correctly when layered. Tynne, Is a strong, wedge-serif, condensed display font. Deep �ink traps�, subtly varied forms and open counters bring to its even colour and pleasingly regular rhythm a bit of syncopation and sparkle making it ideal for packaging, elegant yet informal headlines and posters. OpenType features include over 70 standard and discretionary ligatures and digraphs, three sets of figures, alternate characters, small caps and swashes. We are proud to acknowledge the assistance and contributions of fellow type designer, James Arboghast.

The Baksheesh family comes in three weights with accompanying italics and small caps. The catalyst for the development of the typeface came from the desire to create a contemporary family of constructed letterforms built upon a flexible system. The aesthetic of the font is influenced by the characters drawn by Wim Crouwel in 1976 for Olivetti’s typewriter font that could support varying character widths, hence Baksheesh’s faux-monospace appearance. Each of the characters has been designed according to an intricate grid, helping to rationalise the letterforms into a system that can be translated across the various styles. The flexibility of the grid also allows for optical adjustments to be made, for example stroke thinning at junctions and baseline/x-height overshoot for enhanced definition throughout. Baksheesh is suitable for setting small amounts of text as a distinguishable and legible headline font.

HS Almisk is a display typeface. It can be used for titles, logos and graphic projects, which support Arabic and. It has been created based on modern kufi style. It enjoys flexibility between sharp and curved lines in the structure of characters. This supports with a beautiful appearance and wonderful geometric structure. The sharp endings in the bottom of character also give an aesthetic addition to the character. (8) Weights has been created for this typeface between the Light weight and Black weight. Besides, those three additional weights which can be used in headline, has baseline parts are thicker than the vertical parts. One has a regular form and the others has a stencil form in the middle using various styles. This typeface with its diversity of (8) weights is intended to be an attempt for a good addition to Arabic typography.

Gaffuk is a handwritten font that smooths out each character This font is specially designed to have a beautiful and harmonious appearance in the use of your project. This font is equipped with three alternatives to beautify and enhance your needs in providing clear information to the audience but also having a beautiful visual appearance. not only that, but we also complete this font with ligatures and alternates. This handwritten font is perfect for children’s magazines, drink banners, games, posters, beverage, outdoor events, thumbnails, food banners, cheerful writing, film titles, quotes, titles, logos, and various kinds of projects you need, of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text. start using our fonts for your amazing projects.

Dante was designed by Giovanni Mardersteig. Mardersteig started work on Dante after the Second World War when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book face with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, Dante was adapted for mechanical composition by Monotype in 1957. The new digital font version has been re drawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. The Dante font family was issued in 1993 in a range of three weights with a set of titling capitals. Dante is a beautiful book face which can also be used to good effect in magazines, periodicals etc. Dante® font field guide including best practices, font pairings and alternatives.

A new 100% handmade brush script font family with lots of swashes, alternates and extras. Caps letters in the script font can also be used as a separate font, so you are getting three, not two, fonts + some extras such as catchwords & design elements. Each letter was carefully traced by hand and have clear edges so both fonts can be safely used on a website (sans serif is 61kB and script is 150kB only!). The font is fully unicode mapped. Most letters in the script typeface have few different swash styles that can be accessed via OpenType panel of your application such as Adobe Illustrator, Adobe InDesign, Adobe Photoshope and even MS Word. If you are working in Sihouette Studio, to get an access to all glyphs you may need an additional software (for example, PopChar or Ultra Character Map).

Copenhagen has been in need of a typeface that unites the city’s many visual expressions. The three designers Morten Rostgaard Olsen, Henrik Birkvig and Ole Søndergaard have designed and developed the typeface FP København. Now available from MyFonts in 20 styles: Uprights & Italics, small caps, pictos-characters, stencils, sprayed style, OT-features, ligatures, contextual alternates etc. The shapes of the letters are inspired by the city’s culture and the visual environment and design in Denmark in the 20th century. It is relatively low and wide as the city itself and with rounded corners that give it a warm visual mood. “You can find examples of the use of a typeface with the same purpose in other parts of the world, for example, to identify local areas or urban tourism materials. FP København is our take on that kind of typeface” the designers add.

Zin Display is a contemporary typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balance between neutral construction of letters (strictly vertical axis), dynamic open forms (opened terminals) and sharp instrokes, outstrokes and serifs. Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Zin Display can be effectively used especially for display typesetting but works for longer text as well. It can be used especialy in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Display is a member of the Zin super family, which also includes Zin Sans, Zin Slab and Zin Serif fonts.

From the abyss and the quarantine hell, drawn in absolute lonelyness, and finished during the darkest hours of confinement… "Guau" is born, the type that barks directly at your face! "Guau" is a high-contrast display font with as many weights and versions as there are types of puppies in this fantastic world. It is thought to bring up glances in middle and heavy boxing weights, although you can also take its compressed and italic styles just for a walk. "Guau" is a font with three axes (italic, weight and width) and 20 instances, and it also contains thousands of glyphs and Opentype features that means a "guaorld of posibilities". This name comes from the time when you could only go to the street to take a walk to your pooch. Definitely, "Guau!, your new best friend!".

Averes Title is a sharp geometric sans titling typeface available in three weights. It features an array of stylistic discretionary ligatures with corresponding accented variants supporting numerous languages. Features include: Discretionary ligature feature Romanian s accent language feature Dutch IJ language feature Polish kreska language feature Slashed zero Ordinals feature Language: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Congo Swahili, Cornish, Danish, Embu, English, Esperanto, Faroese, Filipino, French, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Vunjo, Welsh, Zulu *Requires an application with OpenType and/or Unicode support.

Boxr™ is a contemporary font family named after its boxy, square shape. We softened all the sharp corners on stems and connections to achieve a harmonious balance between the clean, corporate look and the warm, friendly feel. This versatile rectangular sans serif typeface is an excellent choice for your prints, packaging, editorial, and digital design projects. Boxr™ comes in 5 weights, 10 styles, and 1,100 glyphs/style. This Canadian-designed typeface also packs with OpenType features such as stylistic alternates, case-sensitive punctuations, ligatures, and date vs fraction recognitions. It also supports 200+ Latin-based languages and comes 120 essential UX/UI icons available in three different stylistic options. Try Boxr™ on your new design projects today! To find out more about Boxr™ Opentype features and type specimen, please visit https://r9typedesign.com/boxr-fonts-features-specimen

Marshmallow is a fun, fat, super high-contrast script typeface in two variants. A slick connected (Script) and a mellow unconnected (Fluff) style that provides the versatility you need regardless of the display usage you plan. Marshmallow Script tops out at 820 characters, and both fonts feature a wide array of swash and stylistic alternates that complement the other, with varying options in the three additional stylist sets, titling alternates, ligatures and contextual ligature combinations. The fonts even contain ordinals, superior and inferior numerals, OpenType-generated fractions. All of these extras are produced with a sense of decadence and fun to expand the possible uses of the typeface. It can’t be used everywhere, but when it is used, it should be used with indulgent abandon… which is pretty much what happens any time we take a soft, gooey bite into marshmallow now, right?!

Santoro Script is a fun, happy script font created in the style of handpainted sign lettering. The first brand-new font added to the Jukebox library since 2011, it displays a jubilant attitude which will add a spontaneous, warm and friendly look to any design. The typeface contains three versions of every letter found under the Swash and Stylistic Alternates OpenType features as well as a few additional letter versions and ligatures under the Titling and Discretionary Ligatures OpenType features. These extra alternates help give the font a hand painted feeling. Jukebox fonts are available in OpenType format and download packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

HS Alwafa is an Arabic display typeface. It is useful for book titles and creative graphic projects where a contemporary, streamlined look is desired for digital purposes. The font is based on the simple lines of sequre Kufi calligraphy, that support Arabic, Persian, Urdu and Kurdish. This font was created in the beginning as a digital weight in 2012 for use by an engineering digital company. The company tends to follow the geometrical united and equal shape in both vertical and horizontal dimensions and with a tendency for digital strokes showing digital numbers under the name of base. I followed that with three styles: first, the digital with a solid base, second is a stencil and the third is the regular solid font. By producing this font, we provided the Arabic fonts library with various styles which grant many design purposes.

Arogun is a display typeface with a unique and amusing appearance. It has a lovely and clean shape. This typeface comes in three families to make it easier for you to use in your unique projects. Everyone who sees this typeface will be impressed by its distinctive, attractive, and spectacular appearance if you use it in your various projects, whether it’s an event or not. Your project will be more exquisite, professional, and one-of-a-kind than it has ever been. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

Snatch is a dynamic and expressive type system designed for impassioned and unprejudiced creative directors who look to combine the rough with the sexy. The font is well-suited for publishing projects, branding and packaging. Snatch is composed of three sections: a group of sharp-shaped uppercase fonts (small caps and all caps) in 5 weights, a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Snatch—a collaborative project between Bercz and Latinotype Team—is the wild, condensed sister of BOWIE and it was developed by Valentina Vega, Rodrigo Fuenzalida and César Araya, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara. The family consists of 5 weights, ranging from Thin to Black, and comes with a 679-character set that supports 206 languages.

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

This family was inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel (Germany) to print the splendid New Kreüterbuch...(New herbal...), with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany. It is a Schwabacher pattern, with three different sets of fonts, small (± 4mm for the upper case) in the main text, larger for titles (± 8mm for the upper case) and large Initials or lettrines (five lines of main text). This font contains standard ligatures and German historical ligatures (German double s, long s, tz, ch,...) and diacritics (special umlaut "e superscript" and "∞" unstead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font. It can be used in complement with 1538 Schwabacher or/and 1534 Fraktur.

Mixed Tape is a brush typefamily inspired by music and based on calligraphy. It has 3 different styles so that you can choose which you need or combine them as you like. Mixed Tape Regular is a casual neutral brush script, Mixed Tape Small is a more elegant variation and Mixed Tape Capitals is an energetic, probably even brutal brush script. You can freely play with the three of them creating your typographic compositions. You can use Mixed Tape for posters, prints, menus, packaging, book covers and headlines, cards and as a starting point for logotypes. Mixed Tape has a lot of alternates and ligatures which are built into the ‘Liga’ feature that is turned on by default. It also has swashes, titles, fractions, ordinals and case sensitive forms. Let’s all enjoy good music and typography!

Giulietta is a handwritten, fully connected script with ligatures and contextual alternates to help with flow and readability. It can be used for invitations, greeting cards, posters, advertising, weddings, books, menus etc. Giulietta pro is the most complete style, it contains over 830 glyphs, 7 stylistic sets, contextual alternates and ligatures. Every lowercase letter has seven variations (uppercase letter has three). To get the alternate glyphs choose various stylistic sets or just add "*1", "*2", "*3", "*4", "*5","*6" or "*7" before the letter in any OpenType savvy application or manually select the characters from Glyph Palette. Giulietta A, Giulietta B and Giulietta C have less glyphs than the Pro one, they only contain some selected alternates and ligatures. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

We often see calligraphy fonts with a standard style developed from the brush pen strokes. Sweet Pancake fonts come in different calligraphy styles. The usual shape has been customized to make it look more personal and special. Sweet Pancake is available in two versions, regular and X. The second version is the development of the regular version by adding sharp corners to the stem. To be more specific, this font also includes several swash so that you can easily mix and match unique and different typographic designs. To attach a special swash to the letter end automatically, you only need to add two / three / four hyphens (the standard ligature feature must be activated). Sweet Pancake is suitable for logotype, invitation, poster and more. Available in OTF and TTF formats, also supports multi-language and PUA encoded.

Anabella is a typeface made for the Master’s Degree in Typography at the University of Buenos Aires. It is inspired by the posters of pizzerias located in Naples, Italy; in order to be used in the pizza franchise Giuseppe in Buenos Aires, Argentina. The font preserves and rescues gestural features of these posters, adding a vertical axis and high contrast, typical of the Italian types that arrived in the city product of the immigration. The stroke with brush provides a more organic quality to the sign and provides connotative features. The family has three variables for the different applications that may be required in a pizza place: Italic for bodies greater than 16 pt, Roman for short texts up to 14 pt, and Stencil for use in brands and titles. Anabella was selected to participate in the eighth typography biennial Tipos Latinos.

Ancyra is a transitional serif family designed with current usage areas and requirements in mind. Efforts were made to provide the most effective harmony within each character and with the characters they are associated with. For customizing the usage areas and providing an impressive and fluent reading experience; it is designed in three different optical weights as title, subtitle and body text. Sharp and soft terminals used together (such as v, w, y, s, c, k) have an extraordinary effect, especially in italic styles. Contextual alternatives are designed to be compatible with the letters after the letters "c, e, t" in the text and create a cursive effect. Ancyra is perfect for use in newspapers, magazines, e-books, packaging design and fashion industry, branding of quality products and services. Ancyra has a versatile usage area with its optical weights.

Averes Title Roman is a high contrast sans titling typeface available in three weights. It features an array of stylistic discretionary ligatures with corresponding accented variants supporting numerous languages. Features include: Discretionary ligature feature Romanian s accent language feature Dutch IJ language feature Polish kreska language feature Slashed zero Ordinals feature Language: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Congo Swahili, Cornish, Danish, Embu, English, Esperanto, Faroese, Filipino, French, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Vunjo, Welsh, Zulu *Requires an application with OpenType and/or Unicode support.

Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the "oldstyle" of the Italian renaissance, its contrast reveals a clear underlying modern influence. In a typical Italian artistic fashion, Paganini manages to be a superb text face while having enough priceless ornamental moments to make it great in display uses as well: Check out the splayed M, the wide-tailed g, the flowing tail on the y, the high-armed k, etcetera. While the original metal version was limited to five basic fonts, this digital expansion includes small caps in the three main upright weights, plenty of alternate forms in all fonts, a super-seductive Open font, and an expanded language support covering the majority of Latin-based languages.

Zest is an informal brush script drawn with quick, thick brush strokes. While it is based on everyday handwriting, the expansive and easy flow of the script hides the care that has been given to the crafting of each character. In style it harks back to the hey-day of American lettering and calligraphy, yet it has a looseness that is thoroughly modern. Zest comes in three styles: -- Zest-Medium, which is medium-weighted and appropriate to a wide range of applications; -- Zest-Drama, in which the contrast between the the thicker and thinner parts of a brushstroke has been dramatically enhanced; and -- Zest Bezel, in which the brush strokes have been given a contemporary, square-cut appearance. Zest is ideal for invitations to stylish but relaxed events, for advertisements that are intended to create a special ambiance, for posters and for announcements.

Slinky Chic, svelte and slinky, FS Sophie was inspired by and designed in partnership with ATTIK UK. With clean lines, simple, elegant curves and dynamic forms, it brings a feminine sophistication to text and headlines in publishing and advertising. Kinky FS Sophie’s engaging simplicity arises from its construction, using a modular set of core, rounded shapes and straight strokes, drawn and then repeated to create letterforms. An extra technical detail of occasional, short 45-degree diagonals adds a distinctive little kink to Sophie’s cool exterior. Alchemy By some kind of typographic alchemy, the combination of simple curves and lines with unexpected twists to the shapes of characters creates an unusually spirited and lively design in all three weights and their italic sets. Born for the spotlight, FS Sophie is a natural for big headlines, pull quotes and other high-profile text elements.

Lil Rhino is the more reserved but still slightly offbeat sister to the quirky comic Fat Rhino typeface. You can see the resemblance, they work well together, but they also each hold their own.

Introducing Hackensack—a rugged and reliable typeface that embodies the spirit of the past with its vintage charm and commanding presence. This Clarendon-inspired narrow slab serif design is perfect for anyone looking to make a bold statement with their typography. With Hackensack, your message will be delivered with a sure-footed confidence that demands attention. This compact display typeface has an old-fashioned feel that hearkens back to a bygone era, giving your design a touch of timeless elegance. But don’t let its vintage charm fool you—Hackensack is as rugged and durable as they come. Its strong, sturdy lines and slab serifs make it perfect for headlines, logos, and other display uses where you need your message to stand out. And if you’re looking for even more vintage flair, Hackensack includes old-style numerals which can be accessed in applications that support OpenType features. So whether you’re creating a vintage-inspired poster, a classic logo, or any other design that requires a touch of old-world charm, Hackensack is the font you need. Most Latin-based European, Vietnamese, and some Cyrillic-based 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, 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hello, friends! I recently bought myself an old game console, the SEGA Mega Drive 2. For a long time I couldn't understand why, when I was a kid, it seemed incredible to play it. Nowadays there are a lot of games with stunning graphics and realism, but still there is something warm and light in old games. Maybe it's just a memory of a carefree childhood. After playing it, I decided to create this font so that everyone could do something in the style of old games that an army of designers and programmers hadn't worked on yet. Good luck and love to you!