Pakenham is a typeface that truly exemplifies the transformative power of typography. Inspired by the timeless elegance of Steile Futura, a work of art by the legendary Paul Renner, Pakenham has taken the world of typography by storm with its innovative and captivating design. At its core, Pakenham is a sans-serif typeface that exudes an aura of modernity and sophistication. Its gently curved corners and generously scaled loops give it an effortlessly chic and trendy look, while its clean and sharp lines keep it rooted in the world of minimalist design. But Pakenham is not just a pretty face. It is a typeface that is brimming with oddities and anomalies that will add a unique and personal touch to your creations. Its superelliptical design is unlike anything you’ve seen before, making it perfect for designers who are looking to break free from the shackles of conventionality and embrace their creative freedom. With four different weights, two widths, italics, and special effect styles, Pakenham is a typeface that offers an unprecedented level of versatility. It is a true workhorse, capable of adapting to a wide range of design projects and styles. Overall, Pakenham is a typeface that is a must-have for any serious designer. Its combination of elegance, modernity, and versatility make it a true gem in the world of typography. So if you’re looking to take your design game to the next level, look no further than Pakenham. 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.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Introducing Steelfish Rounded—the typeface that effortlessly blends the timeless appeal of historical design with the contemporary touch of modern typography. With its compact letterforms and rounded stroke ends, this headliner typeface exudes a sleek and sophisticated aesthetic that is perfect for any project. Based on the beloved Steelfish typeface, Steelfish Rounded takes a unique approach by avoiding trendy stylistic embellishments and antique ornamentation. Instead, it carves its own path, allowing it to swim stealthily through the most challenging of design themes. Steelfish Rounded is the perfect embodiment of balance and harmony. Its compact design and rounded edges create a harmonious blend of tradition and innovation, making it a versatile choice for any project. Whether it’s for headlines, subheadings, or even body text, this typeface’s clean lines and sleek curves are sure to make a lasting impression. There are other kinds of Steelfish: Steelfish Regular, Steelfish Hammer, Steelfish Steeled and Steelfish Unleaded. So, if you’re looking for a typeface that can capture the essence of both old and new, Steelfish Rounded is the one for you. With its gentle, yet powerful strokes, it will help you convey your message with confidence and sophistication. Trust us, with Steelfish Rounded, your designs will be swimming circles around the competition. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Linefeed, the retro-inspired monospaced typeface that transports you back to the 1960s and 1970s era of computer band printers. Drawing inspiration from the revolutionary technology of the time, Linefeed captures the essence of the clunky yet iconic machines that were responsible for producing some of the most important documents of the time. Imagine a row of hammers, one for each column, smacking the paper against the ribbon and raised characters embossed on a constantly revolving steel band. This is the heart of the Linefeed font, paying homage to the technology that paved the way for the digital age. Most band printers of the time were restricted to uppercase, digits, and a little punctuation to ensure maximum efficiency, but Linefeed brings this beloved typeface to life with added lowercase letters, extra punctuation, and accents. Linefeed was once one of the most widely used computer fonts during the 1960s and 1970s. It could be found on a plethora of documents, including driver’s licenses, magazine subscription labels, report cards, invoices, and auto dealership window stickers, among other things. In a world where sleek and modern designs dominate, Linefeed offers a refreshing throwback to the golden age of computing. Its technical design, inspired by the machines of yesteryear, is a testament to the ingenuity and creativity of early computer designers. With its monospaced layout and vintage charm, Linefeed is sure to bring a touch of nostalgia to any design project. 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.

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

Rhein is named after the German river that runs through the western border valley. Rhein is a sans-serif typeface family for titles, editorials and graphic design pieces with high impact needs. Rhein was not only conceived as a font design with rounded corners, but its intersection points have been also smoothed. In addition, the wide range of 8 weights that vary from Thin to Black allow relatively long continuous reading (Regular, Medium, Semibold), and short reading designs (Black, Bold, Thin). On the other hand, the "Inline" variant is extremely provocative to fit into any branding project. To add dynamism and to expand the typeface range of use, it was designed as a family of alternatives. Together, the 18 styles of "Rhein" provide a range of options that adjust to the needs and current design and advertising trends.

Kewl is the result of being caught in the afterimage of one design project while conceptualizing another one. Just before finishing the final tests on Mrs Blackfort, the first of what became a long series of Charles Bluemlein fonts, some of the letters began morphing differently in my mind. The idea was to go on the heavier and more playful side, but with a South American sign letterer’s twist, rather than just good handwriting. I did some sketching, took some notes, then got busy with other projects. Some of that stuff eventually seeped into Candy Script and, to a lesser extent, the Whomp font. But it was only a matter of time before I got back to the original concept and finished it. Kewl is ideal for food packaging, book and music covers, magazines, and window splashes. Illustrations by Catriel Martinez.

Majora is a slab serif typeface which derives its name from a Portuguese historical toy manufacturer. The font comes in 8 styles, ranging from a delicate Thin to a robust Black, with matching italics and an upright version of stencil fonts, resulting in a total of 24 weights. Majora is well-suited to a wide range of design projects which include packaging, editorial design, screen use, etc. Its humanistic features and moderate contrast between thick and thin strokes make it also suitable for long block of texts while having a high degree of legibility. The font includes a set of alternate glyphs which help give your compositions a different and unique look. The Stencil version was specially designed for use in signage, packaging, titles and headings. Majora contains a set of 520 characters that support over 200 Latin-based languages.

This family was inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books. Although it is an early Fraktur pattern, it is easy to see the characteristic differences with the Schwabacher style (look at 1538 Schwabacher), like in the small d, o or y... and the capitals (look at the H, K, T...). Frequently, Schwabacher and Fraktur were used together in the same book : Fraktur style for the main and Schwabacher for marginalia and comments. This font contains standard ligatures and German historical ligatures (German double s, long s, ts...) and diacritics (special ummlaut "e superscript" and "∞" instead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font.

Namalika is a beautiful calligraphy font. In a feminine and wonderful style, this flowing script will be your favorite logotype and signature lettering. This cursive handwriting is drawn and created by Toni Studio and Mans Greback in 2022, and has an optimistic character and a humble personality. Use underscore _ after any word to make a swash. Example: Namalika_ (Download required.) The Namalika family consists of four handwritten fonts: Regular, Italic, Bold, Bold Italic The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The idea behind the font called Chaco originated after testing the deficiency shown in road signs in Latin America. The design began after a long documenting period. Throughout the various stages of the work,  there were several  tests and checks  conducted of the formal solutions implemented which, based on the results, would gradually be changed until we finally reached, in this way, its definite design. The original project for the font features three steps, namely: regular, light and bold, yet by making progress in the development, it was possible for us to perceive that by enlarging the black and thin variances, the family with 5 different weights could offer very good results in mass media, such as newspapers, magazines and television. In order to expand its possibilities of utilization, the set was completed with italics and small capitals.

My daily challenge is how to get my kids out of bed, feed them breakfast, get them to dress, wash and pack their school bags and drop them off at school before the bell rings. The rest of the day, the challenge is to renovate our house, get my work done, pick up the kids from school (plus all of their friends, who want to come and play) and cook dinner. Of course, the word ‘challenge’ was misused by the internet. Not too long ago, there seemed to be and endless stream of crazy challenges that ended up hurting or even killing a few people. Daily Challenge font is none of the above: it is a clean cut, 100% handmade, all caps font. The only challenge here is how to adapt your design so it fits this font perfectly… ;-)

Livory is a serif type family of four fonts including small caps, 25 ornaments & 50 ligatures in each style. It was designed by Hannes von Döhren & Livius F. Dietzel between 2005 and 2010. Livory is influenced by the French Renaissance Antiquas from the 16th century. It has an organic look with a warm touch and was especially developed for long texts. With its melted corners and individual serifs, Livory has also a smooth and handcrafted appearance in display sizes. With almost 780 glyphs in each font, Livory is equipped for complex, professional typographic work. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures, ligatures, ornaments and a set of arrows.

Magenos Soft is the rounded version of Magenos typeface family. It is a modern geometric sans serif family characterized by its simplicity and extensive functionality. With its open apertures, geometric architecture and low contrast strokes, it expresses a sincere tone with a modernistic, neutral, yet friendly personality. It has been designed to work well for a wide range of applications and is a reliable workhorse. Equally suitable for print and screen usage, it works well for both text and display at a wide range of point sizes. The addition of true italics gives the whole family a dynamic edge and flexibility. Magenos Soft comes with many OpenType features including stylistic alternates, standard ligatures, oldstyle and lining (proportional and tabular) numerals, slashed zero and a variety of symbols, making it a perfect choice for contemporary and professional typography.

Pantoufle is French for slipper. Not the flipflop variety (or thongs if you’re from Australia), but the one you wear indoors when it’s cold. I have some too; Spanish ones, made from recycled PET bottles. Here in Holland, we call them ‘Pantoffels’ and you don’t have to be a language expert to see the resemblance between the French and the Dutch word. That is because the French are probably more savvy when it comes to keeping your feet warm and the Dutch just borrowed the word, pronunciation and all! Pantoufle is a font I made with a big fat marker pen. My kids had used it to decorate some gifts for Sinterklaas (if you want to know what Sinterklaas is, look it up). Pantoufle comes with extensive language support and a full set of alternates for the lower case glyphs. Enjoy!

Rigatoni is a didone display family with exceptional readability. Based on a German mid-century lettering specimen by Nerdinger, designer Alejandro Paul expanded the face into an extensive family, with 5 weights, italics, and a 2 weights stencil version. Its tall letterforms and sturdy serifs give it a noble bearing when set in all caps; in the lower case its large x-height and spacious counters imbue it with a welcoming tone. A plethora of alternate and swash characters let you create distinctive settings for identities, labels, titles, and headlines. Use the shorter ascender and descender variants for aesthetic effects, or to prevent collisions in tightly stacked text. Since we've imagined Rigatoni being used for restaurants, menus, and food packaging, Sudtipos asked to designer Esteban Diácono to create some 3D visualizations. Ale’s type has never looked saucier!

Duct tape is one of the most versatile adhesive materials known today. From fixing the bumper of your car that keeps falling off, to creating a sturdy wallet. From alternative wrapping to sticking a friend to the wall, Duct tape is there. And it will stay there. It will stick to anything and hold for a very darn long time too! The cloth-backed tape was invented some time during World War II, and also proved itself useful as a base material for lettering. VLNL Duct was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT. DBXL imagined an owner taping the name on the window of his shop using Duct tape. The font was used for all communication of the restaurant. Duct is a sturdy, rough all-caps typeface that will stick to anything.

In the immortal words of Homer Simpson, "It's easy to complain... and so much FUN, too! Woo-HOO!" Now your characters can grumble, mumble and mutter in barely audible tones as they dredge up some bit of misery from their lives, unleash a rambling river of criticism and complaints about the state of their health, or the government, garbling as much graphic detail as time and your imagination will allow! Or perhaps your creations are issuing drunken slurs as they wake up outside their own fricka-frackin' houses cuddling wheelie bins, covered in glitter, wearing a shiny hat and budgie smugglers over their jeans while holding the reins to a miniature horse. So moan, groan, gossip incoherently or swear under your whiskey-soaked breath like a trooper... courtesy of those Rassum Frassum font lovers at Comicraft. >Hic!

Here's a unique and unusual font pack in the tradition of late 1960s psychedelic poster and album cover styles. Perfect for that flaming psychedelia vibe from the Haight-Ashbury scene in the Summer of Love era. Combine Regular and Fill versions to create a two-toned design for a super offbeat and eye-catching look. Once loaded on your system, the three versions of the font show in your menu as the following three "weights": Psychotropic Experience Regular, Psychotropic Experience Fill, and Psychotropic Experience Solid. The 3-alphabet collection works together seamlessly to allow you to assign one color to the body of the letter, and a second color to the inset fill areas. Just copy your text block, paste in place, reassign the font to the Fill version, choose a complimentary color, and off you go. All caps Fonts.

About Sf Article font family: Sf Article is An Arabic and Latin typeface for desktop applications ,for websites, and for digital ads. The main types of Sf Article font family weight are regular and bold. The regular weight is perfect for reading, it is helpful during long reads, Bold Sf Article styles are designed to draw attention to short phrases. The Sf Article font family is characterized by short heights and dynamic stretching of letters through the paragraph, where the space In the line is automatically filled. In Sf Article font family, we have developed two italic fonts: regular and bold, to help with the diversity of stylistic expression in the Article, document and research work. Sf Article typeface comes with many OpenType features including stylistic sets. Designer: Sultan Maqtari Design date: 2021 Publisher: Sultan Fonts

Pinksoda is a notable and quotable font. Introducing our custom font creation service that offers you the opportunity to bring your favorite quotes and notes to life, in a unique way. At our custom font service, we specialize in creating handcrafted fonts that perfectly capture the essence of your personal style. We create handwritten fonts that convey the perfect tone and reflect your individuality. Whether it's a favorite quote, a special note, or a cherished message, we work tirelessly to create custom fonts that capture the true essence of your sentiment. Our custom-handwritten fonts are ideal for creating personalized stationery, invitations, greeting cards, posters and social media graphics. Whatever the occasion, our fonts are the perfect way to add a touch of charm and personality to your designs. - also multilingual support Enjoy the font! Feel free to comment or feedback! Thank you!

Designed by Nadine Chahine, the Amariya™ typeface family is intended for long form, on-screen textual content. It supports the Arabic, Persian and Urdu languages. The design is consistent with traditional text typeface models popular in the Middle East, but has a lower level of stroke contrast optimized for on-screen reading. The family is available in nine weights ranging from a light hairline to a very bold black. The middle weights are intended for setting text copy while the extreme hairline and black designs are best suited for headlines, sub heads and similar applications. The Amariya family can be used for numerous projects from branding to blogs, in a variety of interactive design environments on both large and small screens. The fonts include the ITC Charter design by Matthew Carter as a Latin companion.

Binnek is the perfect font for any sporting event. This font, combined with the immense popularity of outdoor sports, has generated a huge demand for typography solutions suitable for use in outdoor advertising media. Binnek features 6 different styles from sans, and slabs, to sharp edges, as well as beveled variations, the result is a versatile display typeface that can be used in high-speed situations while still taking advantage of a contemporary tone. Using this font also tells everyone that you mean business. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

ITC Lubalin Graph® was initially designed by Herb Lubalin and drawn to fit the requirements of typographic reproduction by Tony DiSpigna and Joe Sundwall in 1974. Its underlying forms are those of Lubalin's previously released ITC Avant Garde Gothic, but its shapes were modified to accommodate large slab serifs. Its condensed weights, which include small caps and oldstyle figures, were later additions by Helga Jörgenson and Sigrid Engelmann in 1992. The family, with its generous x-height and overall tight fit has come to represent the typographic style of American graphic design in the 1970s. The typeface is at home when paired with mid-century modern design and spare sanses or more traditional text faces from the period. ITC Lubalin Graph covers four weights in its condensed width from Book to Bold, and five weights in its normal width.

Rebrand is all about geometry, a typography that boosts confidence. However, contrary to pure, cold mathematics, this font seeks a more jovial and friendly face. The goal with Rebrand is to offer a Geometric Sans Serif font that can work in various instances, from symbols and titles, to text, and everything in between. It also creates a whole lot of personality, ideal for branding. There are two versions: Display, which is more fluid and dynamic with nine programmed weights for a wide array of intensity. This version also has various alternative characters and swashes. Text, which has the same attitude as Display, but is a little more serious with seven programmed weights to provide distinctive extremes and subtle variations among the mid-tones. Both cover basic Cyrillic and come in small caps. Both create one phenomenal typography: Rebrand.

Inspired by the emerging Korean culture that grabbing the worldwide actuation in so many realms of the industry. To bridge the vibes and to make it easier to consume, we found the gap to fill with simple things in life that are useful for it, and yes, it's a new day it's a new font. So without any further ado, please welcome Hwaiting Serif. 3/3 series of Korean vibes typefaces. It's a serif font with a thick and thin style of visuals, aiming the luxury and glamorous tone to catch up with high-fashion branding and today's graphic design trends Crafted with deep research about Korean traditional letters, shaped up with the approach of universal Latin letters. This is the last drop of 3 series from the Hwaiting family. Thank you for your engagement with us.

the name Stickwithu was inspired by the title song Stickwitu sung by The Pussycat Dolls which was very popular in the early 2000s. Stickwithu has been designed to make any project look like it was handwritten by hand. a simple yet modern handwritten typeface that’s perfect for adding personality to your typographic design. With its intersecting lines and decorative shapes, Stickwithu gives you the perfect look for use in logos, branding, wedding invitations and stationery, social media posts, and even handwritten quotes. That’s what we’ve done with Stickwithu and want to share with you. We hope you find something unique that will add personality and character to your designs. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products. ~Redy

The Samba family was inspired by the lettering art of J. Carlos, a Brazilian illustrator during the early 20th century. Turned into a workable series of fonts by the contemporary Brazilian designers Tony and Caio de Marco, Samba is especially recommended for use in logos, flyers, posters, and tattoos! This family offers the user a chance to mix three different styles of lettering into one coherent design, which can be very useful in solving certain design problems. While the regular Samba face is made up of mono-line letters, the style of Samba bold offers much more of a thick to thin contrast. The Samba Expert set displays lavish swash endings, which were inspired by Brazilian metal work. The Samba family was one of the winners selected during the 2003 International Type Design Contest, sponsored by Linotype GmbH.

English HU Hikiki is a unique typeface with a tilted initial consonant, giving it a feeling of lying down and a sense of rhythm due to its large height. The combination of long vowels compared to small consonants adds to the feeling of handwriting. There are 1 weights of HU Hikiki : Medium Greek Το HU Hikiki είναι μια μοναδική γραμματοσειρά με ένα κεκλιμένο αρχικό σύμφωνο, δίνοντάς του μια αίσθηση ξαπλωμένης και μια αίσθηση ρυθμού λόγω του μεγάλου ύψους της. Ο συνδυασμός μακριών φωνητέρων σε σύγκριση με μικρά σύμφωνα προσθέτει στην αίσθηση του γραφικού χαρακτήρα. Υπάρχουν 1 βάρη hu Hikiki: Μέσο Cyrillic HU Hikiki – уникальный шрифт с наклоненным первоначальным согласоном, дающий ему ощущение лежания и ритма благодаря своей большой высоте. Сочетание длинных гласных по сравнению с небольшими согласные добавляет чувство почерка. Есть 1 вес HU Hikiki : Средний

Volantene Script is a fully equipped display typeface inspired by the fine penmanship of Lady Talisa Maegyr-Stark. The lowercase letters are crafted to be as faithful as possible to the lady�s hand-written forms, while the uppercase, figures, symbols, and punctuations are original designs by Catharsis Fonts (Christian Thalmann) matching the lowercase in style. Volantene Script comes with an extensive character set and OpenType features like ligatures and contextual alternates. The common romanization of High Valyrian uses macrons (??????) to mark long vowels. Since these are difficult to type with most keyboard mappings, Volantene Script offers macron-shaped diaereses (������), which are easily accessible. Volantene Script was completed within a week�s time. The name is derived from the free city of Volantis, where Lady Talisa grew up and learned to write. This font is dedicated to Simone. Geros ilas!

UXB Stencil and its companion UXB Spray contain both the stencil and the sprayed letters in two fonts. The font is a headline display uppercase only character set, which is duplicated in the lowercase keys, identical in form (except for an alternate “Z”). No need to remember to hit the caps lock, the font will work with lowercase key strokes. UXB Spray is also a headline display uppercase only character set but, includes a few “drip” characters (find them in the lowercase key positions) these apply when you have held the spraycan over the stencil too long and made a mess. Use separately or together for a maximum design explosion. The fonts used together with color can create many nice design effects- by offsetting characters and putting one font in front of the other for a second effect. UXB it’s an emergency.

"It is hard to believe, but they won't be able to give up on us" The story of this font has started with a little suitcase actually. These characters were trying to do something for minimela kitchen which it named.After that, they looked that they was wanting to be that font beautiful writings written with it, belonging to it, special to it and reminding it to everybody. These cute monsters that have shaped themselves were a piece of a whole, of a little whole. They were totally believing to beautiful and long ways that have being waited them. They have given a sincere promise they will continue with little steps on that ways. "It is hard to believe, but they won't be able to give up on us" while telling this, we were totally talking about that

Monto is a superfamily — this is the Grotesk + Grotesk Display part of it. Monto Grotesk is a modern sans serif typeface that combines the strengths of the neo-grotesque and geometric genres. While maintaining an established and trusted look, the design is influenced by a contemporary geometric aesthetic, making it a modern yet timeless companion. The Grotesk is split into two sub-families (Monto Grotesk and Monto Grotesk Display). While Grotesk is intended to be used in long paragraphs and copy text, Grotesk Display is perfect for striking headlines. To achieve maximum legibility, Grotesk emphasizes its characters vertical strokes, focusing on a coherent rhythm and having more open counters in contrast to Display which features a reduced tracking and more geometric and round forms. Furthermore, individual characters change their entire shape to best suit their areas of operation.

This family was inspired from the set of fontfaces used by Francisco Del Hierro, to print in 1726 the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Diccionario de Autoridades). These two Transitional styles are said to have been the first set of official typeface in Spain, like the French “Reale” (take a look at our "[/fonts/glc/1790-royal-printing/ 1790 Royale Printing)". In our two styles (Regular & Italic), fontfaces, kernings and spaces are as closely as possible the same as in the original. This Pro font is covering Western, Eastern and Central European, Baltic and Turkish languages, with standard and “s long” ligatures and twin letters in each of the two styles and a few Italic swashes inspired from the font used in 1746 by the same printer for another edition from the Royal Academy.

Latim es una tipografia inspirada en el esitlo románico latino La fuente amplía su uso proporcionando 4 pesos desde delgado hasta negrita; mientras que los pesos más delgados han reducido el contraste y las correcciones ópticas para crear una apariencia cálida y suave. Los tamaños de letra grandes, puede apreciar las formas de las letras, mientras que la misma moderación y enfoque crean una textura uniforme para tamaños de letra pequeños y lectura larga. ------- Latim is a typeface inspired by the Latin Romanesque style The font expands its use by providing 4 weights from thin to bold; while thinner weights have reduced contrast and optical corrections to create a warm, soft look. Large font sizes, you can appreciate the shapes of the letters, while the same restraint and focus create an even texture for small font sizes and long reading.

Nomina is a family of sans serif fonts for use from large to small sizes. The weights of the family itself contain 16 styles plus italic, ranging from ExtraLight to Black. The font family takes was inspired by classic Grotesk typefaces such as Venus and Akziden Grotesk. Unlike any other modern Grotesk typefaces, the details of the contrast in this font family are quite subtle and yet still harmonize while standing in between another character, the open apertures help them to increase the quirkiness accompanied by the sharp terminals on each rounded glyphs. The Nomina family is well equipped with lots of selective alternates and OpenType features, and the main usage of this font is universal, this means this can use it any design style as long as the look and feel keep match with its characteristics.

Zulu-Ndebele Pattern is the first ever font to be based solely on the traditional decorative patterns of the Zulu and Ndebele tribes of Southern Africa. The designer has lived in KwaZulu (Place of the Zulu), for over 50 years and has made a life-long study of traditional Zulu beadwork and carving, and of Ndebele wall decoration. There are 52 pattern units that may be combined in many ways to create borders, backgrounds and an unlimited number of designs. The pattern units correspond to the upper and lower case letters. The reason that the Zulu and Ndebele patterns have been grouped together is that the true tribal areas are contiguous and the there has been much artistic cross-fertilization between the two cultures. Many of the patterns that are used by the two tribes are identical.