Knoedel is a display typeface with three front-weights: light, regular and bold. Although a conjunction of different styles were a reference during the design process; the art deco style left a more noticeable influence in the final design. Knoedel, also has clear references to geometric and slab serif fonts. The design is intended to be applied on headlines or short text fragments. Knoedel offers full coverage for all languages using Latin alphabet: whole Europe, America, Oceania and on a big number of African and Asian countries. Besides the standard ligatures, Knoedel, additionally, has more than 200 discretionary ligatures and a generous number of borders and ornaments. Knödel (Knoedel) is a traditional dish from Austria and the southeast of Germany; made of dumplings of different ingredients usually boiled in salted water. It is not high-end cuisine but still, it accomplishes its aim of soothing hunger.

very traditional forms strongly slanted italic consistant proportions extraordinary ligatures swashes alternate letters alternate figures lower case l with a hooked “foot” Believe it or not, there are hardly any sans serif fonts in which the lower case letter l also has the hooked form of an l. Instead, we readers have to constantly distinguish whether we are seeing an uppercase I or a lower case l — just take a look at the word “Illinois”... The ingoFont Analogue was developed for exactly this reason. The intent: To create a pretty much »ordinary«, even classical font with its most striking characteristic being the inclusion of the “crooked l.” As a model, I used the »mother of all sans serifs«, Akzidenz Grotesk from Berthold, with its beginnings going back to the 19th century. Analogue is so to say a new interpretation of Akzidenz Grotesk from ingoFonts. All characters — following the model — have been newly designed. And if you want to emphasize the shape of the hooked foot even more, you can also activate the alternate styles for d, h, m, n (Style Set 1). Conversely, the alternate a somewhat softens the “hooked” impression (Style Set 2). The slanted versions — it isn’t truly a real cursive font — are noticeably stronger with 13° than the italics in comparable fonts, and were given a round e with a mind of its own which distinguishes itself considerably compared to the upright characters in the overall appearance of the font. More modern and formal solutions in detail were chosen for some of the characters, for example the M was given lightly slanted sides; the a reflects the curves of the s; the “feet” of a, l and t match; the flared legs of K and R became a “foot”, too. General proportions were carried over almost completely with no changes from Akzidenz Grotesk as well as the slanted trimming on the open forms of a, c, e, s; in comparison, C, G and S were given straight endings. Analogue contains many ligatures, even discretional ligatures, plus proportional, old style as well as tabular figures. All in all, at first sight Analogue brings back memories of the charm of its well-known predecessor; and yet, many small differences give Analogue an unmistakable certain something...

Thermal is an exploration of balance and contrast. Combining the elegance of classical typography with the sharpness of contemporary design. It was conceived to be a variable font with two axes: weight & optical size, providing a wide range of options for texts & display applications. The regular and italic text weights breathe a warm atmosphere, their design inspiration is a relaxed interpretation of the work of 16th-century French type designer Robert Granjon, evoking a comforting rhythm and a sense of familiarity that makes reading enjoyable. On the other end of Thermal's design spectrum lie the extreme weights – thin and heavy –, specifically designed for larger sizes. These weights borrow stylistic cues from several distinct influences: the characteristic woodtype from the 19th century, the sharp lettering styles from the 70s, and the bold work of Oscar Ogg. One of Thermal's disctint features is its italic's 20° inclination, an significant inclination by all standards, this design choice finds its roots in the "Ascendonica Cursive" of 1571, but is a contemporary interpretation that generates a captivating contrast with the regular version. Thermal studies the past and analyzes the present to create a unique blend, bringing a dictint dichotomic identity.

Wafterby is a handsome sans serif typeface family. It comes in eight weights which have a minimal and clean feel. Its design is based on circle and line geometric shapes. It can be used as a cute minimal-style header display or as a stylish text for magazine, blog, corporate branding, packaging, wedding invitation project, etc.

Transmogrified started out as a special project for a client. It's a lovely sans serif font, casual, with sweet swirls over here and there. It is based on Transmogrifier , from which uppercase glyphs were selected. Next, new lowercase glyphs were drawn and a bold cut was also developed for added flexibility. Let your messages be transmogrified!

POSSIBLE is both sans and serif, either is possible. The typeface is a sans-serif impersonating a spur serif, or it’s a glyphic with the look and feel of a sans. This clean, contemporary family is inspired by Percy J Smith’s ’Petit Serif’ from 1928, and similarly takes inspiration from Johnston’s Underground, though more recent influences provide geometric and humanist elements that, together with the tiny micro-serifs, improve clarity and legibility. Spur serifs such as Petit Serif, Copperplate and Liberty are often caps-only fonts, but Possible contains a lowercase, as well as a full Latin Extended-A character set. Possible is available in five weights – Thin, Light, Regular, Medium and Bold – each supplied with a corresponding, optically-corrected italic.

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.

Traiectum is the old Roman name for the city of Utrecht (in The Netherlands). When I started working on this font, I wanted to give it a Latin name and Traiectum sounded good! Traiectum is a hand drawn font with a regal and messy look. It was based on Goudy Old Style, a classic old-style serif typeface created in 1915 by Frederic W. Goudy. Traiectum is a multilingual, all caps font and I am sure you’ll find lots of uses for it. The city it was named after, Utrecht, is actually very nice! You should visit one day!

Stencils have played a number of roles over the years, from decorative patterns to military markings; from labeling shipping containers to a student’s school project. One unusual application of a stencil alphabet was some metal letters spotted for sale at an online auction site. These antique letters were used for promoting the current show on a theater marquee just as plastic ones are used nowadays. Following the auction images as a guide, the Roman stencil font from those marquee letters is now preserved digitally as Talent Stencil JNL; which is available in both regular and oblique versions.

Cloister Open Face was designed in 1929 by Morris Fuller Benton as one weight of the Cloister Old Style family. Cloister itself appeared from 1897 with American Type Founders, and later for the typesetting machines of the Linotype, Intertype and Monotype companies. At that time, it was the truest modern industrial revival of the Jensonian Roman. Benton stayed close to the style of his model in both design and spacing. Cloister Open Face has an old-world elegance, and it works well for titling in books and magazines. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e.""

Jacob Graffiti is a font inspired by graffiti. In order to reflect the feeling of spray paint, the beginning or the end of the characters show a sense of stroke. When designing this font, to add some fun, a pictorial ligature was specially designed: jacob. And it's on the smile face Unicode block too.

Rosalinde is an original font based on rough hand-lettering reminiscent of 1960s era protest poster lettering. It's the kind of lettering you'd expect to see used for a snippet of anti-war poetry set against a red-white-and-blue striped background, or perhaps accompanied by a fat dove with an olive-branch.

ITC Redonda is the work of Montreal designer Gerard Mariscalchi and based on a common style of 19th century French handwriting. It comes with two sets of caps, both highly flourished, which are complemented by a refined lowercase. ITC Redonda is a distinctive upright script with intricate forms and will lend elegance to any application.

This critique of the utilitarian is a perverse and disjunctive mash-up of thematic devices: sans mixed with serif, stroke contrast applied to techno armature, body parts displaced and elided. We are asked to admire the virtuosity that conjures the sweet spot where everything blends together into some semblance of legibility, but contemplation is disturbed by the transgressive nature of the proposition.

Eurotypo SII is a sibling of our Eurotypo Sans family and is composed of two Expanded weights and six Condensed styles. Each font of Eurotypo SII contain 359 glyphs and advanced typographical support with OpenType features such as ligatures, discretional ligatures and case-sensitive forms. It also contain diacritics for Central European languages. All aspect of readability and accurate kerning were carefully controlled.

Labour Brusher is a captivating natural brush font that seamlessly merges the untamed beauty of nature with the charm of handwritten text. Inspired by the organic strokes of a brush, Labour Brusher brings a touch of authenticity and warmth to any design. Each letter exudes a natural flow and a sense of imperfect elegance, capturing the essence of a brushstroke on paper. With its textured appearance and irregular shapes, Labour Brusher adds a rustic and handmade feel to logos, packaging, and creative projects. This font beautifully combines the ruggedness of nature with the versatility of brushwork, making it a versatile choice for designs that seek to evoke a sense of earthiness and artistic flair.

Provan is a contemporary humanist sans serif with roots in calligraphy and incised letters. These timeless inspirations result in a typeface family that transcends fashion and adds a strong sense of authenticity to brands. The regular version of Provan has angled stem endings and oblique stress in curved shapes which add to its friendly and legible warmth. Provan Formal straightens these stroke endings to bring a more refined alignment of letters. The typefaces include swash capitals, small capitals, old style figures and special Celtic capital variants. The Inline version of Provan is useful for drop capitals, book covers and posters. Provan bucks the ubiquitous neutrality of geometric typefaces and exudes a sense of humanity, craftsmanship and warmth.

Quadon was designed to fill the gap between traditional serifs and the lasting trend of using sans serif fonts for contemporary design. The result is a modern, clear and infinitely flexible interpretation of slab serif fonts. The open shapes and a large x-height keep the font legible in small sizes while the short descender supports the compact heart and strength of a slab serif. Quadon has a wide range of typographic features and alternative glyphs to create your own and unique version of it. It comes in nine different weights with matching italics. From the sensitive but sharp thinner weights to the punchy and powerful heavy weights, Quadon is well-suited for a wide range of versatile tasks.

Provan is a contemporary humanist sans serif with roots in calligraphy and incised letters. These timeless inspirations result in a typeface family that transcends fashion and adds a strong sense of authenticity to brands. The regular version of Provan has angled stem endings and oblique stress in curved shapes which add to its friendly and legible warmth. Provan Formal straightens these stroke endings to bring a more refined alignment of letters. The typefaces include swash capitals, small capitals, old style figures and special Celtic capital variants. The Inline version of Provan is useful for drop capitals, book covers and posters. Provan bucks the ubiquitous neutrality of geometric typefaces and exudes a sense of humanity, craftsmanship and warmth.

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

A couple of years before the second World War, Marcel Jacno, the popular French graphic designer who in the 1930s designed iconic posters for Gaumont and Paramount and famously illustrated the Gaulish helmet that first adorned the Gauloises cigarette packs in 1936, was asked by Deberny & Peignot to design a calligraphic typeface for the advertising market. Jacno's Scribe design, billed by D&P as a "virile ad writing" typeface, was released to some great fanfare in 1937, enjoyed some time of French spotlight, and was ready to make waves in the rest of Europe before the war broke out and snuffed its chances at international recognition. However, samples of it can still be found in some specialty post-war publications as an example of a trend that lasted a couple of decades, when Western European type manufacturers commissioned famous visual artists to design typefaces in order to capitalize on the artists' fame - the trend that brought us standards like Futura and the long list of Lucien Bernhard and Imre Reiner faces. This exclusive digital version of Jacno's design expands on the original concept with a large character set that includes plenty of alternates, a couple of different ways for seamless lowercase connections, three sets of figures, and extended Latin language support, adding up to over 540 characters in a one big, contextually-programmed font.

LeopardSkin is an exciting, contemporary display font, incorporating the distinctive markings of one of Africa’s most famous “big cats”. Two versions are available: LeopardSkin Aarde, based on the Aarde Black font, is best used in conjunction with Aarde Black or Aarde Outline. LeopardSkin Umkhonto is based on the best-selling Umkhonto font, and may be used in conjunction with the Umkhonto font collection. The popularity of the “animal skin” look in contmporary clothing and soft furnishing design make LeopardSkin a must for artists on the creative edge of contemporary design.

Anthoni Signature is a handwritten signature script with a natural & stylish flow. This collection of scripts is perfect for personal branding. Anthoni Signature Font is perfect for many different project such as logos & branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything. What's Included : - Ton of glyphs (include Uppercase, Lowercase, Numerals & Punctuations, Ligature, Alternate, and Swashes) - Bonuses 6 Premade Signature Logo - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters - Fully accessible without additional design software. Fonts include Multilingual Support for: Afrikaans, Albanian, Danish, Dutch, Estonian, Finnish, German, Icelandic, Italian, Norwegian, Portugese, Spanisch, Swedish, Zulu We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

Boxer Punch - Soft Bold Font Boxer Punch - Soft Bold Font is a stylish and modern font designed to catch the attention of your audience. The font's unique design combines a soft bold shape with a cute sans serif, making it perfect for creating eye-catching designs. The idea behind creating Boxer Punch was to incorporate the concept of understated realism into the font. This is evident in the font's smooth and elegant lines, which make it perfect for a variety of design projects. The font is ideal for those looking to create a professional touch in their designs, while also maintaining a stylish and modern feel. Boxer Punch is an excellent choice for anyone looking for a font that is versatile and can be used in a variety of different contexts. It is perfect for sports-themed work projects, as well as branding, packaging, logo design, album covers, posters, and social media graphics. One of the standout features of Boxer Punch is its versatile OpenType features, including alternates and ligatures, which allow for even more creative freedom when designing with the font. Additionally, the font comes with uppercase and lowercase characters, as well as support for multilanguage, numbers, punctuation, and symbols. Inside the font package, you'll find three different file formats: Boxer Punch otf, Boxer Punch ttf, and Boxer Punch woff. This means that no matter what platform you are using, Boxer Punch will work seamlessly with your software. Boxer Punch is a font that is sure to make your designs stand out from the crowd. Its unique design and versatile features make it perfect for anyone looking to add a touch of elegance and style to their work. If you're looking for a stylish and modern font that is perfect for sports-themed work projects or a variety of other design projects, then Boxer Punch is the font for you. In summary, Boxer Punch - Soft Bold Font is a versatile and modern font that combines a soft bold shape with a cute sans serif to create a unique and stylish design. With its versatile OpenType features, multilanguage support, and uppercase and lowercase characters, Boxer Punch is perfect for a wide range of design projects.

Geminian is a set of fonts that started as a simple idea based on a theoretical level and developed during a long time, to be able to take shape under a creative impulse inspired by the need to communicate, today more than ever. From an astrological point of view, it celebrates and contributes to this practice, the study of stars position and movement and their influence on people's destiny. As a good Gemini, this set revives the main features of the opposite twins sign. Gemini is associated with thoughts, creativity, and communication. Its ruler Mercury (Hermes for the ancient Greeks), messenger of the Gods, and spokesman of the divine word, gives the natives of this sign intelligence, wit, eloquence and poetry. Geminian aims to be a medium to carry different messages from one end to the other. And this is because when using words, Geminis always surprise. Thanks to this gitf (and language and communication), they are able to bring up the most ingenious ideas, to solve any problem and to contribute new perspectives. These qualities may be the secret of its magnetism. The Geminian set comes in 5 styles including a script with multiple ligatures and alternates, 3 sets of caps and dingbats. In addition the complete font family supports a wide variety of Latin alphabet-based languages.

Reclamo A simple design from the San Serif family with a few contrasting accents. Inspired by the dove beauty products brand, I think I can incorporate a simple, clean, and elegant print into the San Serif family. Reclamo is a Balinese word for advertising. It is transmitted orally and is anchored deep in people's minds. 386 Glyphs | 18 Font Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ ____ Image used : All photographs/pictures/logo/vector used in the preview are not included, they are intended for illustration purpose only. Thank you Hope you enjoy with our font!Font Variablevariable fonts

I like playing around with brushes and Chinese ink. I always have some kind of idea of what the final design should look like, but once it’s done, it never ever looks like what I had in mind. Apex Brush is one of those designs: it started off as a few brush strokes, but before I knew it, I had a really nice set of matching brush fonts! Use it for any design that needs a bit of rough, a splash of ink and a pinch of rebel.

DIN has always been the typeface you root for—the one you wanted to use but just couldn’t bring yourself to because it was limited in its range of weights and widths, rendering it less useful than it could be. The century-old design has proven to be timeless, but modern use cases demanded an update, which resulted in DIN Next—a versatile sans serif family that will never go out of style. This classic design turned modern must-have includes seven weights that range from light to black, each of which has a complementary italic and condensed counterpart. The family also included four rounded designs, stretching the original concept’s range and core usability. DIN Next also boasts a suite of small capitals, old style figures, subscript, superscript and several alternate characters. A quintessential 20th-century design, its predecessor DIN was based on geometric shapes and was intended for use on traffic signs and technical documentation. Akira Kobayashi’s update made slight changes to the design, rounding the formerly squared-off corner angles to humanize the family. Rooted in over 100-years of history, it’s safe to say that there will always be a demand for the DIN design, and thanks to DIN Next, now it’s as usable as it is desired. Wondering what will pair with it perfectly? Check out Agmena™, Bembo® Book, Cardamon™, Joanna® Nova, FF Quadraat® and Quitador™. Featured in: Best Fonts for Logos, Best Fonts for Websites, Best Fonts for Tattoos

Introducing Gradable, a mesmerizing script font that seamlessly blends elegance with boldness. This unique typeface is characterized by its graceful, connected letters that flow effortlessly from one to the next. With a low-contrast design, this font exudes a sense of stability, What sets Gradable apart is its distinctive swinging endings on select letters, adding a touch of playful sophistication to your text. These stylish flourishes give your words an air of dynamic movement, making your message stand out with a touch of charm. Gradable fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Introduce “Morgan” is a duo font, consisting of Serif and Script fonts, a very fitting combination, of course making your design more elegant and very charming Morgan was created to fulfill your need to create a charming and cool design. Equipped with many unique ligatures in serif fonts that will make your designs different from other designs, and also equipped with many Alternates in Script Fonts that will add a luxurious impression to your designs. How to use special characters in serif fonts for the letters “A, I, U, E, O” please select one of the letters above then use the dot 2 times (A..), then you get a special character, and to get a special character on letters K, R & L, use one of the letters above, then add a hyphen (-) once or twice. What's Includes: Morgan Serif Morgan Script Special Ligatures in Serif Font Special Alternates in Script Font Multilingual Support If you have any questions, please contact us

The Macarons font family consists of a monoline version, regular and bold weights, and a set of gestural catchwords, which reflects the use of the ruling pen as a freestyle tool. Ornaments and dingbats are also included. Macarons is a display type based on the classic Garamond typeface. It’s inspired by the foodie culture and the slow food movement, which began as a rebellion against fast food and has now grown to a global scale. Every day, thousands of people around the world take pictures of their food, look for new recipes to try and recover old ones, enjoy wine-pairing, and value locally produced food. Macarons is a fresh and spontaneous looking typeface that has been designed by Coto Mendoza, who also has developed a hand-made product line (Ride my Bike, Ride my Bike Serif, Four Seasons, D.I.Y. Time, Dans le Cuisine and In a Jar). This font is not constructed out of modules: each character is drawn by hand. Macarons is ideal for cookbooks, menus, liquor bottle labels, food packaging, wedding invitations, greeting cards, tea boxes, food blogs, small shops, cupcake bakeries and so on. Try! A freshly-baked homemade macaron!

Cyclic is a stylish and modern slab serif in three practical, highly legible weights. The name ‘cyclic’ suits this typeface in several ways. Firstly because I wanted to create an ‘all-round’ typeface (pun intended) that could adapt to most applications, but also, as the dictionary definition explains - “occurring in circles, regularly repeated”. The basis for a lot of the characters did begin with a circle or sections of one; the equally distributed, rounded forms of this font are complemented however by the vertical strokes, and further counter-balanced by angular slab serifs on the remaining glyphs. Curved alternates with a celtic vibe are also included in the fonts and feature on the default slots in the separate Cyclic Uncial set. In summary, the whole Cyclic type family comprises a combined palette of circles and straight lines; something the cubist movement would have been proud of!

Cyclic is a stylish and modern slab serif in three practical, highly legible weights. The name ‘cyclic’ suits this typeface in several ways. Firstly because I wanted to create an ‘all-round’ typeface (pun intended) that could adapt to most applications, but also, as the dictionary definition explains - “occurring in circles, regularly repeated”. The basis for a lot of the characters did begin with a circle or sections of one; the equally distributed, rounded forms of this font are complemented however by the vertical strokes, and further counter-balanced by angular slab serifs on the remaining glyphs. Curved alternates with a celtic vibe are also included in the fonts and feature on the default slots in the separate Cyclic Uncial set. In summary, the whole Cyclic type family comprises a combined palette of circles and straight lines; something the cubist movement would have been proud of!

The 1928 logotype for Sertal Toiletries consisted of a stylized woman's head, a very snaky S, and five fine, fat deco caps spelling out the rest of the brand name. From these five clues, designer Nick Curtis divined the rules" of the typeface and drew a complete alphabet, including a lower case. The result: ITC Scram Gravy. The finished product could be described as Bodoni on steroids. Tight curls in characters like the 'm,' 'r' and 'y' soften the lower case and give the design a light-hearted flavor. ITC Scram Gravy takes its name from one of many running gags in the screwball comic strip "Smokey Stover," which had folks alternately splitting their sides and scratching their heads from 1935 to 1973. Those familiar with Bill Holman's strip will recall Smokey's car, the Foomobile, and one of his famous nonsense declarations: "No foo-ling, that scram gravy ain't wavy.""

Designed by Daniel Hernández and Paula Nazal. Corrections and review by Alfonso García and Rodrigo Fuenzalida. Trenda is a geometric sans-serif typeface based on the uppercase of Trend —a Latinotype font, released in 2013, that was very well received. This new typeface comes with a wider character set that offers a complete family of uppercase and lowercase in different weights. Trenda is a versatile easy-to-use functional display font with a strong personality, especially its uppercase, which makes the designer’s work easier. Trenda’s lightest and heaviest variants are ideal for display use while its middle weights work well with short and mid-length texts. This typeface has been designed especially for corporate projects, logotypes and publishing. Trenda comes in 8 weights, ranging from Thin to Heavy, and includes matching italics as well as small caps and alternates. The family contains a 634-character set that supports 206 different languages.

Greetings: We are introducing an advanced version of the Kage font released and received great exposure from users and worldwide font enthusiasts. The massive development puts forward experimentation on the alternate letters. We redesign each shape to make it more functional and comfortable when text size escalation occurs. In addition to rejuvenating the letterform, we also apply an oblique style to provide diverse style choices. Learn more about Kage Pro here: Graphics presentation | Type Specimen | The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage Pro is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage Pro is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage Pro has 11 upright and 11 oblique styles from thin to black; all family-style consist of one variable font with 2 axes. The total number of glyphs is 1,665 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.