SansduskiMono is a sans-serif decorative/display family that is monospaced. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. The origin of this face is in a previous typeface, BigStripesMono. That family was designed to use the OpenType feature Contextual Alternatives (calt) to put stripes on letters. It had only upper-case letters in one weight. SansduskiMono adds lower-case letters and eight more weights plus italics and outline styles for the black weights. For a proportional rather than monospaced version of this design idea, see Sansduski. SansduskiMono is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

Didonesque Script has the flair of a script typeface, yet retains the rigid structure and incline of its cousins in the Didonesque family. This makes for an interesting approach – the flamboyancy of this script is restrained which resonates a distinctly reserved and formal tone. This typeface is perfect for formal occasions, with its main intent for use in short runs of text, headlines, branding and logo applications. Open Type features are utilized to good effect – positional forms, contextual alternates, ligatures, stylistic alternates, and old style figures all add value to Didonesque Script. There are four weights, from delicate to voluptuous (Regular, Medium, Bold, and Black), which are replicated in “Display” versions – these are designed for use at larger point sizes. Key features: • 4 weights in two styles – Regular and Display • Positional Forms (when activated) ensure the correct glyphs appear in context as you type • Full European character set (Latin only) • 550+ glyphs per font.

Nemocon is a display font family designed by Carlos Fabian Camargo G. Nemocon It is ideal for making attractive messages. Nemocon has over 2200 glyphs distributed in 6 files OT designed from handmade lettering and usability testing. • Nemocon Script (1382 glyphs): based on the rotation of a flat tip brush. Its letters correspond to the uninterrupted calligraphic logic, as well as similar ingredients as the ones used in font Brush Script by Robert E. Smith, created for the American Type Founders in 1942. • Nemocon Tuscan (375 glyphs): Inspired by representative types of wood from the 19th century, specifically speedball brawny Tuscan capitals with serifs fishtail shaped. • Nemocon Catchwords (115 glyphs) + Nemocon Catchwords Shadow (115 glyphs): categorically inflated words with and without shadows, to accompany, highlight and prioritize. • Nemocon Dingbats (114 glyphs) + Nemocon Containers(150 glyphs): unconventional pictograms consisting warm and comforting thoughts designed to highlight words or phrases which needed multicolored illustrations or drawings in black and white.

Secca is a fresh and versatile typeface series. With its workhorse qualities, Secca is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. Secca is rooted in the tradition of early German Grotesk typefaces, but is tailored for the needs of today, with a wide language support and many typographic features and extras. » pdf specimen « The core family comes in nine weights from Thin to Ultra Black plus another three Hairline weights - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called “weight duplexing” and is a time saver for designers of annual reports and other figure-heavy texts.

Pieta is a wide sans type family inspired by old typeface lettering from Netherlands, with a more contemporary design. The Pieta family includes 7 weights, from Hairline to Black, with their corresponding italics. Each font includes OpenType Features such as Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions. Pieta family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

In the bustling world of rough, grungy typography, there’s one typeface that stands out among the rest—Chinese Rocks. This iconic typeface draws inspiration from the hand-cut rubber-stamp writing found on Chinese export crates from the twentieth century. It’s a typeface that captures the raw, unpolished energy of the streets and infuses it into your messaging. What sets Chinese Rocks apart is its artisanal, handcrafted quality. Each letter is carefully carved to give your words a unique, personal touch that cannot be replicated by any other font. With Chinese Rocks, your text takes on a casual, laid-back vibe that speaks to the rawness and authenticity of modern culture. This versatile font comes in sixteen different styles, including Fat, Condensed, and Shaded. Each variation offers a different take on the classic Chinese Rocks style, allowing you to tailor your messaging to fit any occasion or application. Whether you’re looking to make a bold statement or add a touch of personality to your branding, Chinese Rocks has you covered. So why settle for a generic font that doesn’t capture your essence? Chinese Rocks is the typeface that captures your personality and turns your words into art. Try it out today and discover the power of authentic, handcrafted typography. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down. Shout is the first font released with our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Shout has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, a long s instead of the Greek mu and our usual Hand-in-Hand symbol. There are also left and right glyphs of a big mouth ]ing (135/137) and left and right glyphs of an angry man shouting (172/177). Please use Shout with discretion. Folks get tired of being yelled out. After awhile, they stop listening. Shout ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 355 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt. 3. Added 266 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised hyphen, dashes & math operators. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

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

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

Rahere is a humanist sans with subtle features that give the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere is a versatile family suitable for a wide range of applications such as annual reports, advertising, brochures, catalogues, information signage, screen text and visual identities. For projects that need to convey a sense of authority or credibility, this is the ideal sans serif to use. The family consists of six weights ranging from light to extra bold with corresponding italics and the character set covers most of the major European languages. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles – a must for financial tables in annual reports. Spirited and lively, the italic lowercase is more cursive and calligraphic than the roman, although it harmonises perfectly, displaying enough character to create emphasis without looking out of place. When used on its own, for pull-out quotes or poetry, the italic exudes a charm that draws attention to the text. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded St Bartholomew's Hospital, London in 1123. I will always be indebted to Barts (as it is now commonly known) because in 2007 I was successfully treated for relapsed testicular cancer. Way back in 1992 I designed my first sans serif, Charlotte Sans, and although it was relatively successful, I was never really satisfied with the end result: not enough weights & italics, a small character set, lack of accented characters, and my design skills were still in their infancy. Whilst Rahere shares many common elements with Charlotte Sans, it is much more than just a reworking; it represents over 20 years of accumulated knowledge and experience as a designer.

Hey there, font fanatics. Feeling like your messages are falling flat and lacking some serious funk? Well, we’ve got just the typeface to turn that frown upside down! Introducing Strenuous, the unicase headline typeface with a fashion groove that’s sure to transport you straight back to the ‘1970s. But wait, there’s more! Strenuous isn’t just any old boring typeface—oh no. This baby is unique, distinctive, and funky. And with alternative uppercase and lowercase versions for some letters, you can mix things up and keep things interesting. And don’t even get us started on the eight weights and italics—this typeface is truly versatile and can handle anything you throw its way. So go ahead and give your message the voice it deserves with Strenuous. Your audience will thank you for the groovy vibes. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Few fonts reach cult status. Despite its ubiquity—and perhaps because of its lack of subtlety—for a hundred years Cooper continues to draw the faithful. It’s even come to define an entire typographic genre and recently starred in its own documentary. Cooper Nouveau is Dave West’s imaginative contribution to the Cooper oeuvre. Drawn in 1966, Nouveau refreshes Oswald Cooper’s original italic with an energetic pitch, simplified contours, and a plump friendly figure. Uniform strokes and generous curves push the font’s playful personality and springy silhouette even further. A selection of swashed characters and ligatures offers options for lively logos and strong captions. While Cooper Nouveau looks laid-back and easy-going, it’s more than capable of pulling it’s own typographic weight. Put it to work where relaxed needs to project confident. Set Nouveau large for eye-magnet posters, packaging, and advertisements. Maximize its youthful energy for kids’ themes, craft action, and apparel bounce. Or set it alongside a master like Benguiat Buffalo or Chalet to show how Cooper Nouveau can communicate on paper and screens with an inherent ability to speak the language of style in many tongues. But like any cult icon: beware! Cooper has a way of setting the needle, and Nouveau just may become your go-to design fix. FEATURES ALTERNATES: Cooper Nouveau contains several alternate characters, which add flair to your designs and can help solve spacing issues LIGATURES: Many letter combinations in Cooper Nouveau form a ligature to solve spacing issues and produce more pleasing designs. COOPER NOUVEAU CREDITS Typeface Design: Dave West Digitization: Dave Foster Typeface Direction: Ben Kiel, with Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen — with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles. Most type families increase the weight of each character to expand the family. Instead, research into 17th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others. Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent. Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress. As with all TypeTogether families, Temeraire meets the current designer’s needs. Not only does its five styles shine in print work, it includes alternates for when the defaults are too boisterous and has been expertly crafted for screens. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

Morris Fuller Benton, the principal designer of the American Type Founders, designed Mariage in 1901. Mariage, which has been sold under a plethora of different names during the last century, is a blackletter typeface belonging to the Old English category. The term blackletter refers to typefaces that stem out of the historical printing traditions of northern Europe. These letters, called gebrochene Schriften, or "broken type" in German, are normally elaborately bent and distorted. Their forms often print large amounts of ink upon the page, creating text that leaves a heavy, black impression. The Old English style is a subset of blackletter type that dates back to 1498, when Wynken de Worde introduced textura style printing to England. Continental printers had been printing with textura style letters since Gutenberg's invention of the printing press fifty years earlier. Italian printers stopped using them around 1470. For northern Europeans, texturas remained the most popular form of typeface design until the invention of the fraktur style in Nuremberg. Mariage is heavily classicized sort of Old English type. During the Victorian era, designers admired the Middle Ages for its chivalric, community-based values and its pre-industrial lifestyle. Yet they also found the basic medieval textura letterform too difficult to read by present standards. They desired to modernize this old style. Today, this sort of update is often referred to not as "modernization" but as classicism. Benton's design for ATF builds upon earlier Victorian classicist interpretations of Old English/textura letters. For an example of what these Victorian designs looked like, check out the popular 1990 revival of the genre, Old English . Old English style types often appear drastically different from other blackletters. For contrast, compare Mariage to a classical German fraktur design, Fette Fraktur , a schwabacher style face, or the popular early 20th Century calligraphic gothic from Linotype, Wilhelm Klingspor Gotisch . Especially in the United States, classicist Old English typefaces are thought to espouse tradition and journalistic integrity. These features, together with the inherent, complex beauty of Mariage's forms, make this typeface a perfect choice for certificates, awards, and newsletter mastheads.

I was inspired to create the Rainier type family during my summer back home in the Pacific Northwest. The concept behind it may be simple - a hand crafted font family - but what it delivers is quite complex! Here is a breakdown of everything you get: FONT FAMILIES: Two sub-families with unique styles - Rainier North and Rainier West WEIGHTS: 4 weights per family, broken down numerically - 100 (light), 300 (regular), 500 (bold), 700 (black) OPENTYPE: In each family, there are tons of OpenType options, offering lots of customizable opportunities (in order to access all these goodies, you must be using Illustrator, Photoshop, Indesign or Publisher). Because Rainier is 100% handmade, contextual alternatives allow each letter has three subtle variations, this way it keeps that authentic hand-drawn look. Additionally, a full alphabet with special descending swashes, as well as start and end swashes for capitals and small caps. Titling alternatives offer a full character set just to help with readability! Meant for captions or smaller text, these letterforms are easy on the eye and a great complement to the regular alphabet. Stylistic Alternatives add a little fun, providing a unified cap height, no matter what case you are using (all caps, small caps or lowercase.) Discretionary Ligatures are created only for capitals, and takes specific letter pairs and creates a unique ligature between them To get a better understanding of everything, please check out the quicker user guide (http://bit.ly/1W0Bfma) and print if you so desire (http://bit.ly/23W9ZV6) that helps you navigate your way around and get the most out of Rainier! Unfortunately those links aren't working right now and soon I will have them fixed. So sorry! ORNAMENTS: In addition to the font, you get a set of awesomely rustic ornaments designed and drawn to go specifically with Rainier! - Rustic Northwest Illustrations - Banners & Flags - Frames - Flourishes - Lines & Line Breaks - Arrows There are a lot of extras packed in this set, so make sure you check out the Ornaments User Guide to get the most out of it! Check it out here: http://bit.ly/1rRVJRx And that’s all folks! Hope you enjoy Rainier!

Eymen is a font that has both hard and fun dynamics. In fact, it was primarily dedicated to cool magazine paragraphs and content in the textile industry. But thanks to its large family structure, it can be used easily in many sectors and products. In addition, Eymen can be your companion in your heavy, aesthetic logo designs. In addition, the Eymen Pro family offers you alternative glyphs, ligarutes and more. Thanks to its wide character structure, it supports you for all kinds of languages.

Introducing Bosan, our newest san serif that offers beautiful typography for your project needs. type of font that is relaxed and elegant when used both for title words, sentences and other writing. will seem comfortable to look at when reading the contents of the message you want to convey. This font is very suitable as text with displays for various kinds of branding, advertisements, posters, banners, packaging, news headlines, magazines, websites, logo design, banners, social media design and of course you can use a lot more.

Our Galindo Pro was inspired by the heavy-weight animated fonts such as Ad Lib, Nightclub, and Bear Club, blending geometric cuts with light-hearted contours. The festive letterforms intrigue and draw in the reader, while the SmallCaps and extensive figure sets open the font up to a wider range of uses. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Introducing Azorath, a groundbreaking typeface that marries the bold, unyielding lines of brutalist architecture with graceful fluidity and gentle curves. Azorath's unique design defies convention, capturing attention with its juxtaposition of strength and elegance. Each glyph, meticulously crafted, tells a story of innovation and versatility, making it perfect for both powerful headlines and delicate text. Azorath is your canvas for creating captivating narratives that leave a lasting impression. Elevate your projects with Azorath, where raw power meets graceful finesse in the world of typography.

This illustrative alphabet was inspired by the decorations of Godfrey Sykes, whose work was greatly influenced by that of Raphael and Michelangelo. This tile alphabet follows a Venetian 16th-century tradition of letters decorated with figures symbolizing each initial, a High Renaissance style. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters. Perfect for artistic publications, storybooks, fairy tales, and texts conveying the feel of the apogee of the visual arts in the Italian Renaissance.

Linotype Contacta is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest. Ralf Weissmantel designed this font to display no stroke contrast at all. Instead of using conventional letter forms, Contacta is a more designed-oriented font, with some characters recognizable only in context, not necessarily at first glance. The technical, unconventional forms look almost like a maze, especially when set together. This font is not suitable for text but makes a unique impression in logos and headlines.

The Cacographie Calligraphy Font is a signature decorative font with which you can achieve a handwritten-type lettering feeling. Cacographie Calligraphy Font it's a multilingual lettering font with Greek (of course), Latin character set, and diacritics. This calligraphy style is perfect for your modern graphic design needs. This font has a really nice flow so you use it in a large text if you want to give them a touch of personality. It can be used on social media content, for branding or packaging.

Lunok is an all caps brush font, created to make every text look like authentic hand lettering. The all-caps marker typeface is perfect for bold headlines, posters, shirt designs, fashion brands, social media content and funky ads. Mix & match the stylistic alternate or ligature, so that you'll have lots of different letters for that unique look & feel! What's included: ALL CAPS LIGATURES STYLISTIC ALTERNATE MULTILANGUAGE SUPPORT NUMBER & PUNCTUATION Have fun creating with this brush font and let me know if you've any wish, suggestion or feedback :)

Dnipro is a version of experience generalization of Ukrainian decorative font creation. The generalization development was initited by Georgy Narbut and Mark Kirnarsky in the 1920s and continued in 1970-80s. Latin letters of the font have half-uncial forms, which makes it appropriate for the printing of the relevant content. Besides its decorative properties the font is easy to read and quite suitable for short texts. It is well suited for folk tales, Ukrainian and Slavic in general as well as Western European.

Classy Minimalist is a stunning handwritten typeface that features 139 ligatures for a natural and sophisticated handwritten look. Its beauty is perfect for weddings design, valentines, invitations, branding, quotes, and more. Plus, it supports multiple languages, making it perfect for a variety of design needs. With its elegant strokes and versatility, this font adds beauty to any project, making it a must-have for content creators. Features A set of uppercase and lowercase glyphs Number, symbol, and punctuation Multilingual Support Alternates, ligatures, and swashes PUA encoded

introducing AESTHETIC VIOLET - natural handbrush script - AESTHETIC VIOLET is natural handbrush font with ending swash. It is great for quotes, card, banner, book, social media content, and anything about your project. The ending swash makes this font look so natural. Very easy to access it. You only need to add an underscore twice after the lowercase. This product came in 2 styles, regular and slant. Features: - Uppercase - Lowercase - Ending swash - Number & punctuation - Multilingual - PUA encoded I hope you love it. regards, Abo Daniel Studio

Stemplate is a bold, no-nonsense font based on the common translucent green templates that are available now at an office supply near you! Stemplate includes upper and lower case letters, as well as numbers, symbols, punctuation, and accented foreign characters. Stemplate Outline is based on the common translucent green templates that are available now at an office supply near you, and includes upper and lower case letters, numbers, symbols, punctuation, and accented foreign characters. Stemplate Outline is particularly fetching with a neon glow.

Stonechips is a new Display Font with a bold and unique style. This font is carefully made to maintain the balance of each letter, so that creating a bold and strong style in this font. And very easy and convenient to use! With a style like this, this font will be suitable in use for logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Whittington is a revival of a congenial ‘modern’ typeface of the mid nineteenth century, unassuming and businesslike with an even colour that reads comfortably over long stretches. It is intended primarily for use in running text. Whittington provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Karmila Script is a decorative signature font, where you can achieve the feeling of handwritten letters. So that this font is perfect for your modern graphic design needs, such as social media content, wedding invitations, book covers, greeting cards, logos, branding, business cards and certificates, actually for any design work that requires a formal or luxurious impression. Try Karmila Script, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily.

Have you seen that new font from Comicraft it's lovely isn't it all soft and spongy it fair warms the cockles of me heart Mrs Robinson at number forty three she has one she got it down at the store on the corner you know the Indian convenience open all night my Albert gets his Heineken down there late of an evening and you know what I saw all manner of strange people down there last week super heroes I think they were Blimey!

XXII GeomSlab are the additional slab-serif styles to the geometric sans-serif XXII Geom. XXII Geom and XXII Geom Slab are modern geometric type systems designed with focus on functionality & legibility and with an eye on the old masters. Their well balanced low contrast letter shapes come with a tall x-height. With its range of Opentype features it is designed to fulfill the needs your content deserves (Smallcaps, Case Sensitives, Ligatures…) as well as serving your individual taste (Stylistic alternates & Sets). More information on Behance.

Introducing Khodijah, brand new display font in Arabic style. Designed with a digital flat-pen and gothic typography technique which gives the elegant looks of the letters. This font also adopted from the Hijaiyah letters that highly usable for any Islamic or Mid-east content. Perfect for Book covers, poster, flyer, banner, t-shirt, logo, branding, and other advertising needs. Khodijah has OpenType features such as alternates, swashes, and ligatures that you can access them from the software which has an open-type panel. Happy designing! Ramz.

Semisonic is a captivating modern display font that defies convention and stands out from the ordinary. It seamlessly blends the essence of modernity with a fusion of sans serif and decorative elements, creating a font that's truly exceptional. This unique font is the perfect choice for those seeking to make a bold statement in their designs. Whether it's a logo, branding materials, invitations, packaging, posters, headlines, business collateral, greeting cards, magazines, or any other creative project, Semisonic will add a touch of individuality and originality.

Maine is a modernized book antiqua consisting of six styles and matching italics. Maine's cuts are from Light to Extrabold, of which Regular and Slightly Bolder Book are especially suitable for longer texts. Thanks to its clear features and high x-height, Maine creates a beautiful and legible body text. Maine gives a professional, no-nonsense impression and it’s best used in editorial, books, magazines and everywhere where you can use many different styles and sizes of the same typeface. Go dignified with Maine.

Our Marcellus Pro was inspired by classic Roman inscription letterforms. Clarity and beauty are embodied in the standard lowercase, while this historically influenced typeface also nods to the powerful presence of the Trajan titling style with its SmallCaps set. When combined together, Marcellus is a gorgeous flare-serif typeface, rich with presence and usability. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

- Heptal is a typeface family with five weights including true italics. The geometry of the characters is neo-gothic and the serifs are polygonal concave or inverted Tuscan. - Heptal fonts offer a complete set of lowercase alternatives and advanced open type functions. - The proportions, the metrics and the Kerning are meticulously configured so that the texts are shown fluid and the graphic stain is compensated. - These fonts have a wide table of characters (530 glyphs) with support for all the languages derived from Latin.

Ginsburg it's a modern display all-caps font-family based on geometric forms and abstract wavy lines with an old school constructivism look. Inspired by Moses Ginsburg architecture projects. Playful, modern, suitable for many typography projects as headers, logos, block texts, etc. You may be more strict in your typography or you may be more groovy or playful with alternates characters. Use this family in vintage spirit for TV series, Podcasts titles, exhibition posters or design a modern extreme sport brochure, . Flexible, Catchy and Brazen — it's all about Ginsburg! Six widths: Thin / Light / Normal / Medium / Semi Bold / Bold. Opentype Features as Stylistic alternates, Oldstyle figures / Fractions. Multilingual