"Seen" is the name of the gods in Kingdom of Hadhramaut 3,000 years ago Kingdom of Hadhramaut - Wikipedia "Seen" Font Family Will Add a Splash Of Historical Musnad writing To Your Designs Coming in 4 Styles: Regular,Medium,Bold and Black, "Seen" Font Family is a serif typeface designed by Sultan Maqtari. Each style of the font is incredible in its own way, with attractive curves, spacing, and ligatures. Ideal for bold headlines, short sentences, unique logos, and general graphics, this typeface will effortlessly add a hint of Musnad writing and a splash of Amazing past to any design. "سين" اسم آلهة في مملكة حضرموت قبل ٣٠٠٠ عام ستضيف مجموعة خطوط "سين" لمسة من كتابات المسند التاريخية إلى تصاميمك. تأتي عائلة الخطوط "سين" بأربعة أنماط: عادي،متوسط،عريض واسود ، وهي عبارة عن خط مزخرف صممه سلطان المقطري. كل نمط من الخط لا يصدق بطريقته الخاصة ، مع منحنيات جذابة ، ومسافات ، ووصلة ربط. مثالي للعناوين العريضة والجمل القصيرة والشعارات الفريدة والرسومات العامة ، سيضيف هذا الخط دون عناء لمسة من كتابة المسند ونفحة من الماضي المذهل إلى أي تصميم.

HD Anomie is a modern geometric sans built in 18 styles with variable support and is brought to you by HyperDeluxe®. Its subtle forms and nuanced curves create a simple structure that could be perceived as mundane, but our goal was to create a typeface that is both mechanical and organic in its forms so it seamlessly fits within the environment it is placed. It's clean, minimal approach gives it a wide array of offline uses such as branding, editorial & print, but its modern design and detailed build makes it perfect for UI & digital applications. The clean visual structure of the letter forms give it great readability at smaller sizes, while also being happy to be shown off at larger sizes. Built to be robust and as versatile as possible we have around 1150 Glyphs per weight including extended Latin & Cyrillic support as well as basic Greek. Anomie also features extras such as 2 arrow sets, circled numbers as well as stylistic alternates and case sensitive forms. Find beauty in the Mundane. Meet HD Anomie.

Ansage does not claim to be neutral; it escapes from the rationalist sans of closed strokes and regular forms. Meaning Announcement in German, Ansage is versatile and communicates effectively across a broad range of media and formats such as branding, posters, websites, apps, titles and compositions with little spacing). Ansage is a sans serif font with a strong personality that emerges from an interest in and the study of a wide variety of typographic specimens of Gothic fonts from the nineteenth century. The design process behind Ansage brought about constant transformations in form; the result is a compact and robust font, with a large x-height, small ascenders and descenders, and open terminals that grow in expressiveness as it increases in weight. It is available in 10 weights, ranging from Hairline to Black, and 3 widths – Condensed, Regular and Expanded – plus italics, which make a total of 60 perfect variables to combine and contrast with each other. In addition, it also includes multiple open-type functions such as alternative styles, Old Style Figures, Tabular Forms, fractions, case sensitive, ligatures and more.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

Foverdis is a versatile and powerful ornate script face. Foverdis features flowing hand lettering with tall and graceful ascenders. The face offers a wide array of weights, from the powerful Black weight to the graceful Thin to unique Hairline. Foverdis can get the job done for many unique design tasks. Its wide range of weights at a great price, and OpenType alternates make it a very valuable font for your design toolbox. Foverdis OpenType features include a set of non-connecting alternates, 20 ligatures, and two types of ending letterforms. OpenType features include ornaments, a full set of swashes, swash endings, ending contextual alternates, discretionary ligatures, ligatures and twelve different stylistic sets filled with alternates. In total, there are over 150 alternate letterforms and ornaments. Please see the sample .pdf to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Foverdis is great for a professional designer that wants to maximize design capabilities.

Genial is an elegant, contemporary script font in nine styles, specifically designed for maximum versatility. All of the styles, ranging from condensed thin to expanded fat, are clear and legible. The font conveys a feeling of relaxed elegance. The Family: Medium weights - Regular: of medium weight and regular width - Expanded: of medium weight and wide - Condensed: of medium weight and condensed width (narrow characters) - perfect for limited space Black weights (for best readability) - Regular: for bolder statements - Expanded: expanded width for bolder statements Light weights - Regular: regular width, delicate line - Expanded: wide characters and a delicate line - Condensed: condensed width (narrow characters) and a delicate line Fat weight - Expanded: for maximum impact (wide and extra-bold) Use a combination of styles for product branding, book covers, invitations, greeting cards. The Genial combination will enable you to use different styles of the same font for headings, sub-headings and body text. Genial contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

“The modest Rose puts forth a Thorn. The humble Sheep a threat’ning Horn. While Lily white shall in love delight. Nor a Thorn nor a threat stain her beauty bright.” ― William Blake Are you looking for a way to enhance your copy? Introducing Lilium Star - A Modern Handwritten Font. With every hand-drawn stroke and curve, Lilium Star will delight and add brightness, modernity and elegance to wherever it is placed. Impress your wedding guests with gorgeous invitations using Lilium Star. Why not create more engaging content and inspire your audience and clients? This Modern Handwritten font is also perfect for headings, logos, business cards, printed quotes, cards, packaging, and your website or social media branding. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work.

“Fanfare is such a fun typeface,” says Toshi Omagari, who revived the design for The Wolpe Collection. “It was my happiest discovery when I was digging through the Monotype archive. I came across it and had to check the designer’s name.” No wonder: Fanfare is modern, light and playful – not what you’d expect from an 80-year old design. From the original, very heavy weight design, Omagari started by creating a black weight, followed by four lighter weights for Wolpe Fanfare, preserving the character of the letterforms all the way down to a thin version. “I wanted to do more than digitize the original weight,” he says. “It’s surprisingly modern, and its skeleton, its basic structure, is so beautiful.” The new design packs more into a small space than most typefaces. It’s a natural for publication and advertising design. With displays capable of revealing fine details such as Fanfare’s subtly slanted baseline, its lovely forms will easily translate to mobile devices. With an extended European character set that includes Greek and Cyrillic language support, Wolpe Fanfare can speak in many languages.

Eurotypo BKL is a family of fonts inspired in on one of the most beautiful British Typography ever done. This version of Baskerville tries to reflect the taste of his fine style, compatible with the bluntness of the digital present. As many other designers and foundries, our intention has been to represent the atmosphere of Baskerville's style, than simply relive the shapes of its letters. Actually, capitals fits almost to a square proportions, lowercases are more open, ascenders and descenders are shorter, offering more space for enlarge the "x" high. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning. John Baskerville (1706-1775) was born 1706 in Wolverley, England. He was a great typographer and printer who published a remarkable edition of Virgil in 1757. His typefaces were greatly admired by Benjamin Franklin; He also has improved and developed many innovations in printing, paper and ink production. Baskerville’s typefaces are regarded as transitional types that represents the link between Old Roman Style and Modern Roman typography.

Sporty and brawly, Magnesit Stencil creates impact everywhere it lands. Impressive headlines are its specialty, but it feels right at home used in packaging, branding and poster design. With a very tall x-height, wide language support and minimalistic yet playful appearance, it can take on any serious typographic job. Four distinct styles expand the possibilites even further: the straight to the point Regular, the friendly Soft and the determined Hard styles share metrics across related Magnesit and Magnesit Dark families, so you can mix and match to achieve exactly the effect you need. The SuperSoft style unique to the Magnesit Stencil family carries the concept to the extreme, mixing soft organic curves with rigid modularity inherent to stencil signage. Magnesit Stencil works great with illustrations, the generous shapes can be easily filled with strong imagery to great effect. Based on the best-selling Grim, Magnesit is a vast improvement of the concept with long awaited addition of lowercase, reworked proportions, spacing and kerning, expanded language support and useful icons to satisfy even the most demanding typographers’ needs.

Here I present Round - a type family that is derived form Epilepsja, which was my first alphabet commercially out. After its release I came to think that there should be other fonts of this design that would enrich the variety of choice. Here comes ‘Epilepsja Round’ which is soft and friendly while the Regular family remains firm and sharp. It supports all Latin-based European and African languages and acts as a multicolour layered font. best for headlines, titles and other display uses.. It is an all-caps alphabet of stencil-sprayed and painted letters found in the city space. The glyphs are simple but unordinary. Every letter has something from Escher-like 3D illusion, but is flat simultaneously. Epilepsja Round consists of three styles: Outline, Solid and Fill. Outline is the base from which the other two styles are created. When you mix Solid with Fill, you can create two-color Outline style. You can even mix it with not-Round Epilepsja! Solid is neat and legible in small sizes. Use it for posters, headlines, magazines, websites or anything you like.

Guilloches were – in the old days – used to make the falsification of banknotes more difficult. The engraving of these intricate lines was done by a highly specialized mechanical machine, which was operated by an equally highly specialized engraving artist. Once the settings for a specific curve were changed back to zero it was very difficult, if not impossible to set them back to the old design. I have designed a useful set of Guilloches that join to form ribbons that create a kind of op-art 3d effect. Under the keys A-U and a-u you find joining pieces. Under the keys V-Z and v-z I placed start- and endpieces. 0-4 are different lenght straight extensions and 5-9 are not quite so straight extensions. All other keys are corner pieces that can be used as stand-alones or put in rows to make for superb decoration. With a little bit of experimentation and maybe colored overlays you can achieve super-phantastic designs. Your elegant type designer Gert Wiescher.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

The concept behind Meridiana Pro was to create an amalgamation between a rounded sans and a monospaced font in order to obtain an extensive and usable variable type-system. This typeface encapsulates a symmetrical and balanced rhythm due to the unique blend of different sources of inspiration. Proportions are precisely adjusted with smooth contours and subtle contrasts. These forms give the font an eye-catching look without compromising elegance and minimalism, ensuring that each glyph will work well in any graphic design purpose. The focus was to create a versatile type family with range of alternates, ligatures, and symbols, including the extensive language support of most European languages. Meridiana Pro design space includes two axes, weight and italic and is available as a variable font or as a separate OpenType family, including weights from Thin to Heavy plus their obliques. Specifications: - Version included: Meridiana Pro Variable, Meridiana Pro Static - 8 weights with matching obliques - Multi-language support (Central, Eastern, Western European languages) - OpenType Features (Superscript and Subscript Numerals, Fractions, Ligatures, Alternates) Thanks for reading, Unio.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

Entendre is a stately, commanding and handsome sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre pairs well with our rounded sans serif family Elpy, sharing similar proportions and spacing.

The typeface Belwe, created in 1926 by German typographer and teacher Georg Belwe, has an uncommon style that is difficult to describe. It is a synthesis of many different genres: it is a slab serif with Art Nouveau style but also with many blackletter influences. The angled serifs on the ascenders and the calligraphic flourishes on the the upper and lowercase V, W, and Ys reference marks made by pens. There are also many other special characters that are unlike any other designs. Have a look at the fun lowercase a, the quirky lowercase f and g, and the unique C, F, L, and R for the uppercase. This design works especially well for display sizes, but is also good for short amounts of text. The mood and image suggested by this typeface is great for menus, invitations, and signs when you want to send a personal and friendly message. It's Art Nouveau roots also give it a place in history for designs from the Victorian period up through the 1920's and 30's

In ITC Arecibo, Argentinean type designer Luis Siquot has created a typeface of subtle typographic turns. At first glance, ITC Arecibo has a sturdy 19th century wood type flavor, yet the delicate hairline shadow is decidedly Art Deco. Its condensed proportions and character shapes have been carefully modeled to ensure legibility. Siquot added uniqueness and versatility to the face by drawing two sets of small caps: one in which the central horizontal strokes share the same plane (ITC Arecibo) as those in the full-size letters, and another where the horizontal strokes are proportional with the small caps(ITC Arecibo Too). Another intriguing subtlety is what Siquot calls the “soul of the face,” the distinctive highlight/shadow. “This ambiguous line is an effect I have wanted to incorporate into a design for some time,” says Siquot. “Is it a black hairline that surrounds the letters, or a white line incised into the left and bottom of strokes?” ITC Arecibo and ITC Arecibo Too: distinctive, powerful and economical of space. What more could you ask from a headline face?

Black Storm, a captivating serif display font, commands attention with its bold presence and refined aesthetics. It's a versatile tool that empowers your projects with a sense of authority and intricate detailing. The characters in Black Storm are boldly large, ensuring a striking visual impact suitable for attention-grabbing designs. The stable letter size contributes to a balanced and authoritative aesthetic. What elevates Black Storm to new heights is the thoughtful incorporation of additional lines and ornaments, meticulously placed to create a harmonious blend of structure and embellishment. In addition, enjoy the features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Black Storm fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Zapfino Arabic is designed by Nadine Chahine as the Arabic companion to Hermann Zapf’s iconic Zapfino typeface, with the approval of Prof. Zapf. The design is an evolution of Arabic calligraphic traditions that combines Naskh and Nastaaliq to form a backward slanted calligraphic style. The character proportions refer to Naskh traditions but the isolated and final forms bring with them an exaggerated swash-like movement that references the extravagant ascenders and descenders of Zapfino. The font contains a large number of contextual variants that work to create a smooth flow of pen movement, as well as 10 stylistic sets. The character set supports the Arabic language as well as basic Latin. Zapfino Arabic is meant to be used as a display typeface, for logos, greeting cards and short headlines. It could also work for short pieces of text, for poetry or chapter introductions, when used in a generous type size and with ample space around it. Its design is soft and elegant, and leaves a lot of room for typographic playfulness.

Kross Neue Grotesk is a minimalist sans-serif typeface family of 16 fonts featuring the finest design made with attention to every detail. Created with a special focus on minimalism and simplicity in typography, this typeface can transform your design projects to another level of visual appeal. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 268 glyphs are included. Kross Neue Grotesk is a perfect choice for graphic design, text presentation, web design, print and display use. The typeface can be an amazing option for beautiful branding, logo / logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the Caps will make this font perfect for minimal headlines and logotypes as shown in promo images here. Kross Neue Grotesk typeface family comes with a total of 12 fonts having 6 weights (Thin / Light / Book / Regular / Bold / Heavy) as well as Italic versions of all weights.

A modern black-letter, so to speak. Composed of a few basic elements with a wide-quill ductus. Faber Fraktur was based on the idea that it must be possible to create a modern black-letter type. The typeface is ”constructed“ according to the same principles as a script without serifs: as few varied basic forms as possible, omission of frills which make the type difficult to read and repetition of similar forms. The typical contrasting strokes of the original handwritten black-letter script are retained nonetheless. The elements of this typeface were even pre-formed with the quill. All characters are reduced to their basic skeleton. The fanciness and manifold ”breaks“ or fractures typical of black-letter typefaces are considerably reduced to just a few essentials. Faber Fraktur is a very legible type perfectly suitable for long texts. It does not appear nearly as foreign and archaic as the old black-letter fonts. The capital letters especially have a charm of their own radiating a kind of playfulness in spite of their severe form.

Weisy Signature is a modern calligraphy font that is light, smooth, modern with original pen strokes. This script includes holes or spaces in strokes, because all handwritten strokes with brushes use the ink flow structure. Suitable for branding, signatures, wedding invitations, and cards. Weisy Signature includes a complete set of upper and lower case letters, numbers, various punctuation marks and binders. All lowercase letters include the beginning and end of swash, giving a realistic handwriting style. All uppercase letters include the beginning of swash, which makes the font look great! If you don't have the Glyph panel to use swash, don't worry. You can type -1 instead of swash. For example, if you type -1A, the initial "A" swash appears and the "a" swash ends. If you type-1, the initial "a" swash will appear. PLEASE NOTE: With a Standard License you are NOT permitted to sell digital goods using fonts in editable software such as Templates. Please, contact me for a license extension. Thank you and enjoy MIX.Jpg

Thank you for waiting. Finally, Bebas Neue has got lowercases! Bebas Neue is a world wide, the most popular font family with all caps released in 2010. Bebas Neue has been used from by big companies to by startup designers for many projects. In spite of the fact that Bebas Neue has only Uppercases, it became very popular font for these 10 years. At the same time, we received many requests for adding lowercases. To be honest, we had been developing whole new Bebas Neue with lowercases secretly for long time. Thinner Uppercase from thin to regular weights were redesigned for Pro. New lowercases were designed to match the Uppercases very carefully. You can access Tabular figures by using OpenType tnum features. Almost all European languages are supported by Pro. One more big thing is... Bebas Neue Pro has Italics! Please don't use sloped Bebas Neue. Pro has proper Italics! Bebas Neue “Pro” can extend your possibilities. Be the first to use this professional and premium Bebas Neue!

Rubber B is a heavy display typeface with very tight open counters & character spacing and non-existent closed counters. It is an amalgam of styles and influences that demands attention. It is comparable with the highly geometric experimental fonts of the '90s and early '00s, but also heavily inspired by decorative fonts of the '60s and the psychedelic poster art of the '70s. Bold and loud, yet delicate, almost calligraphic in some cases. It works with Latin & Extended Latin, Cyrillic & Extended Cyrillic and Greek. It comes with 1,500+ glyphs, with more than half of them being ligatures. It also contains several Stylistic Alternates as well as Localised forms (available through the Open Type Features and also as ligatures). All these features are available in order to not only make sure that it works with as many languages as possible, but also that depending on the specific glyph or ligature one chooses to use, they have the ability to alter the emotional character of the word(s) they’re setting. Ideal for titles and logos, as it works best in medium and large sizes.

Albireo Soft in a softer version of Albireo, released by Cory Maylett Design in 2019. The svelte sans-serif letterforms and rounded terminals give Albireo Soft a highly legible and informal look that's perfect for packaging, headlines, logos, brochures, digital use and anywhere else that needs a friendly condensed typeface. With a combination of seven weights in each of the three condensed widths, Albireo Soft will do the job when you need to squeeze many words into a limited amount of space. The fonts include the entire set of glyphs needed for all Western and Central European Latin-based alphabets. Meticulously crafted to ensure each glyph conforms to the highest possible quality standards, Albireo Rounded won't let you down. You may buy one font at a time or save money by purchasing packages consisting of the seven fonts in each width. Save even more by purchasing the entire Albireo Soft collection and, in addition to the 21 separate fonts, you'll receive a variable font that covers all the weights, widths and everything in between.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

TXT101 is a fresh, friendly typeface for mock text and borders. As a retro-cool digital successor to the pencil marks that were hand-drawn as placeholder text in the analog era, TXT101 includes 52 styles, from Arch to Zigzag, with a couple of loops, several slants, and a swell set of waves. If your final copy is TBD, use TXT101 to mock up roman, bold, italic or light. TXT101 looks GR8 and is EZ to set. BWTM! Corner pieces make TXT101 a complete and charming bordering typeface. All patterns come in four weights, so you can make frames and borders for everything from little labels to big broadsides. Corners (north, south, east, west) are TTLY a snap to select from their own stylistic sets. DIY: MIX & MATCH TO CREATE COOL PATTERNS! Many styles have aligning baselines, so glyphs will connect. Single- and double-line variations abound, and you can combine weights (light, regular, bold, black) as well as styles. BTW, feel free to insert word spaces or leave them out.

Labyrindo is inspired on the classic Labyrinth. The oldest known labyrinth is 3200 years old and is to be found in Greece. The mythological king Minos held the monstrous son of his wife ‘Minotaurus’ prison in a labyrinth. Much later the labyrinth made his appearance in the medieval churches, this time as a pattern on the church floor. During the Italian renaissance the multiple gate labyrinth came in fashion. Paths led trough green hedges in beautiful palace gardens. These hedges where perfectly cut in rectangular shapes. Mainly meant as an aesthetic statement. Besides the origin of the physic labyrinth, it has always been a great source of story-telling and myths. I mention a few personal favourites (film) like, Pan’s Labyrinth (a journey to the underworld), Labyrinth (with David Bowie) and the Shining with Jack Nicholson (where a horrific scene takes place in a labyrinth). Not the most cheerful stories but fascinating and intriguing. A Labyrinth is mind boggling and mysterious but wonderful. I made graphic translation in this typeface.

XKANZ SQ is a blockier, more rigid variant of a previous font: XKANZ. It's a futuristic, robotic, variable display font geared towards cyberpunk poster text, cover text, and futuristic UI. It can easily shine as both as header and body. Wide glyphs, high weight and corner contrast, and "connectors" that bridge the gap between the stems, it's this mix of elements that give XKANZ its unique look. The family package (same price as any individual style) includes two static styles, regular and oblique, and a variable font file with a interpolatable 0-12 degree slant axis. Each style includes extensive multilingual support covering most latin characters. 4 stylistic sets that include alternates for the D, I, R, and E glyphs, along with symbol/punctuation alternates such as the parenthesis, brackets, and more. Possible updates include condensed versions. The updates will be free and available to everyone who has already purchases XKANZ SQ. All questions, requests, or inquiries can be sent to abe.xuveki@gmail.com or DM'd to Xuveki on Instagram (https://www.instagram.com/xuveki)

Cloveron Media unveils its first serif font that goes beyond the formal nature of typography. It celebrates the artistic expressions of graphic designers within themselves. The Name Mary Anne Remulla is the Master Designer behind the Enchanter Font. She aims to make graphic designers filled with delight and enjoy typography with its extensively artistic alternates and multilingual characters. The Font Style The serif style, known for its formal touch to typographic design, infuses the font with its professionalism as its regular. Using its middle alternate adds a hint of unique touch without losing the serif style's essence. The Enchanter font's start and end alternates are the designer's illustrations of design balance, which elevates its charm and enticing nature that adds to its overall artistic power. "I am fascinated by art and so by design. A font with alternates was my great revelation that I can do typography artistically, enthusiastically, and with freedom. I later found myself fascinated and lost in paper space, which then ended up that I completed my first font creation with extensive alternates for each letter." - Mary Anne Remulla

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

Arlonne Sans Pro was conceived by Sacha Rein between 2015 and 2019 with a comfortable reading experience in mind. It's a humanist sans with neoclassical influences. Arlonne is a comprehensive font family with four weights and matching italics. It has a character set of about 1800 glyphs, including extended latin, small capitals, Cyrillic (with Bulgarian, Serbian, Macedonian and Ukrainian) and Greek (with Archaic and Polytonic), math symbols, figure styles and automatic fractions, ligatures, stylistic alternates and many more OpenType features. The goal was to achieve simplicity without sacrificing personality. The generous x-height and the contrast of strokes are increasing as the font gets bolder, resulting in relatively open counters even at the heaviest weight. This makes the font especially suitable for body text, even though the carefully designed characters work well for display purposes. The name Arlonne is derived from the small city of Arlon, a Walloon municipality of Belgium located in and capital of the province of Luxembourg. Spacing and kerning have been taken care of by Igino Marini's amazing iKern service.

Escuela typeface is born in an attempt to reflect so many current influences of modern grotesque fonts that are trying to better reflect the values of today's world. Its compact proportions and high x-height, but at the same time with sort kind of modulation and open inktraps, propose a visual game that is worth enough to use it many places; Escuela can be striking and ideal for headlines in large text and heavy weights, but at the same time serious and readable in smaller bodies or regular and fine weights. Its wide range of characters, which includes a set of emoticons ideal for signage, work and evaluation documents, as well as inclusive, is ideal for educational centers, whether they are more playful (schools) or more pragmatic (universities). In fact, "Escuela" means “School” in English. For this reason, Escuela is your best ally when it comes to preparing texts that transcend students through a contemporary and different, but functional, character. Designed by Carlos Campos www.cuchiquetipo.com Dummy text from wikisource.org (1911 Encyclopædia Britannica/Universities).

When you need a handpainted sign, this is the one to use. Manual Marquee is inspired by handpainted signs, retro ticket stubs, coffee shop menu boards, and flea market price tags. The font has multilingual support, including not just basic letters and punctuation but also a whole slew of accented glyphs to accommodate all languages. It’s a clean handwritten sans serif that teeters the line between clean technical digital and rough handpainted letterforms. Whether you want a more rough and authentic look, or a cleaner and more polished one, Manual Marquee has got you covered. Plus, it’s easy to use in any design software, making it the perfect choice for both professional designers and hobbyists alike. So why settle for a plain and generic font when you can add a touch of personality and vintage charm to your designs with Manual Marquee. Get your hands on this one-of-a-kind font today and elevate your designs to the next level! Manual Marquee includes the following characters: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;'”,.\|/?{}“”‘’-–—_ ‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§†´`ˆˇ˜¨˙˚˘¯˝˛¸- ÁÀÂÄȦÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢIÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇ ÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäȧãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣıíìîïīįĵḱǩłḿṁńñň óòôöõōőøœṕṗŕřṙśŝšşșťṫțúùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ

Born at a crossroads, the collaborative sans family of 18 styles Ways is the latest arrival in our portfolio. The name is no coincidence, as Ways pulls out all the stops to bring you excellent legibility. Combined with brutal and elegant details for a distinct humanist flair, this sans offers perfect functionality across all weights. Visual compensations, extra white space, wider apexes, subtle tweaks, and moderate inktraps distinguish Ways among similar typefaces. Use over 690 glyphs, extended Latin and Cyrillic support, extensive OT features set, icon set of more than 60 navigation pictograms, and one variable style, to design full-fledged signage systems that get you from point A to point B without relying on G-Maps. Family overview: 9 weights (from Thin to Black) + italics Extended Latin Cyrillic 690+ glyphs languages 1 variable font (2 axes) 1 free font - Ways SemiBold OpenType Features: Localized Forms Standard Ligatures Contextual Alternates Lining Figures Tabular Figures Subscript Scientific inferiors Superscript (Superiors) Numerators Case-Sensitive Forms Standard and Discretionary Ligatures Stylistic Alternates Contextual Alternates

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and even today inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. Chauncey H. Griffith’s Poster Bodoni displays characteristics of the advertisement fonts of the first half of the 20th century. The font was most often used for posters and signs, eventually including neon signs.

The typeface Belwe, created in 1926 by German typographer and teacher Georg Belwe, has an uncommon style that is difficult to describe. It is a synthesis of many different genres: it is a slab serif with Art Nouveau style but also with many blackletter influences. The angled serifs on the ascenders and the calligraphic flourishes on the the upper and lowercase V, W, and Ys reference marks made by pens. There are also many other special characters that are unlike any other designs. Have a look at the fun lowercase a, the quirky lowercase f and g, and the unique C, F, L, and R for the uppercase. This design works especially well for display sizes, but is also good for short amounts of text. The mood and image suggested by this typeface is great for menus, invitations, and signs when you want to send a personal and friendly message. It's Art Nouveau roots also give it a place in history for designs from the Victorian period up through the 1920's and 30's

Alio™ Text is the workhorse of the Alio family . It works beautifully as display type, body copy and anything in between. We redesigned Alio Text with taller x-height, more pronounced accents, and wider letter spacing than its siblings, Alio Pro. We also cut down from 6 weights/12 styles to 4 weights/8 styles. All of these is to ensure the legibility and readability and to maximize the weight contrast at small sizes. Whether your designs call for all caps, title case, sentence case or all lowercase, Alio Text has got you covered with the case-sensitive punctuations. No more baseline shift all your punctuations. Alio Text supports most Latin-based languages and even the Chinese Pin-Yin. This typeface also packs with Open-Type features similar to Alio Pro. For examples, both recognize fractions vs. dates; Both features several alternate positions for the legal symbols (3 in Alio Text; 5 in Alio Pro). If you’re looking for a go-to, versatile typeface for most occasions, Alio Text is for you. (4 weights/8 font styles, 500+ glyphs each).

Ragazza Script isn’t just another display typeface. It honors the greatest handwriting skills but in a different way. Although It doesn't represent any traditional calligraphy style, it is still part of that expressive world. With more than 1000 glyphs, and taking advantage of the Opentype features, Ragazza is full of personality. When in use, it gives a feel very close to ornamental Copperplate mixed with some kind of modern 'high-contrast' typeface. Lots of alternates, swashes and initial capitals are the spine of this face, assuring almost infinite combination possibilities. The early forms that would eventually lead to what Ragazza is today, began as a college project –around 2006– in the context of the 'Hyperfuente' exercise developed during Typography 2, chair E. Longinotti, at the University of Buenos Aires. But that seed would never stop growing. Since then a lot of work had been made to take that initial project to a professional quality level. Ragazza Script is perfect for headlines and short phrases. It is the brand new modern script, designed by Guille Vizzari and published by Latinotype.