Originally inspired by the numerals on a vintage clock face, Roloi is a layered numbers font in the deco lettering style, and includes a full set of automatic clock symbols. Its geometric forms are typical of the deco style, but stop well-short of pure geometry. The irregular stroke and character widths work together to give the forms a warm and energetic, yet cohesive, feel. Roloi offers two layering styles—the personable Fill and the more dynamic Inline. Designed to be layered over the background Regular style, they both lend the forms an added level of interest. Roloi also includes a clock symbol for any and every time of day, rounded to the nearest five-minutes. The regular weight provides the circular clock background, while the Fill and Inline styles produce the clock hands. If ligatures are activated in your text-editing program, type out any time—such as 9:32, 12:05, etc.—and the proper clock symbol will be automatically substituted. Go ahead, type any time out below! To stop the automatic clock symbol substitution, simply deactivate ligatures. Because the clock symbols are standard ligatures, every major modern browser will support their use on the web. With some programing they could even be used to make a lightweight, text-only clock. In addition to the clock symbols and basic numerals, Roloi’s glyph range covers numeric superiors and inferiors, standard and arbitrary fractions, currency symbols, all of the punctuation and symbols commonly associated with currency, unicode clock Face symbols, the A M P / a m p letters, and alternates of the 1, 2, and 4, accessible by selecting Stylistic Set 1.

Mono-Spec Stencil is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width, which is immediately noticeable for its condensed nature. Mono-Spec Stencil is a sibling of a non-stencil family, simply named Mono-Spec. Characters in each are just as wide, allowing Mono-Spec Stencil to be used together with Mono-Spec, as a secondary typeface. As a typeface whose characters are stencil-shaped, this design channels the spirit of resistance and street culture. When you look at the family, remember that it ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Stencil Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec Stencil fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec Stencil’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Pickey Pop is a delightful display font that combines a thick weight, low contrast letters, and charming swinging endings. With its playful and bold design, this typeface brings a sense of joy and vibrancy to any creative project. The thick weight of this font adds a strong and confident presence to each letter. The boldness of the strokes creates visual impact and ensures legibility even at smaller sizes. This display font demands attention and stands out effortlessly in any design composition. In contrast to its bold weight, Pickey Pop features low contrast letters. This design choice gives the font a sense of solidity and consistency. The uniform strokes contribute to a clean and contemporary appearance, making it a versatile choice for a wide range of design applications. What makes this font truly special are the swinging endings found in select letters. These whimsical details add a touch of playful movement and uniqueness to the font. The swinging letter endings bring a sense of rhythm and energy, infusing your designs with a joyful and dynamic quality. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Pickey Pop fits in headlines, logos, attention-grabbing titles, product packaging, branding materials, editorial layouts and website headers. 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.

Gimbal Egyptian is a richly-featured font family providing many style options across a broad range of languages. It is twinned with Gimbal Grotesque, a sans-serif family with an identical range of weights and features. Originally conceived as a small webfont family, the letterforms have been revitalised to put a spring in their step and the family has been extended to create a versatile multi-script text face equally at home on the printed page. Carefully crafted at all weights, Gimbal also lends itself to headlines and display applications such as posters, exhibitions and signage while resolving well on-screen for general document creation and web-based applications. The letters are spaced for best readability on-screen and in the usual printed body text ranges but are tolerant of tracking adjustment to suit other uses. The styles are divided by width into four families (Compressed, Condensed, Normal, Extended), each family possessing six weights plus corresponding italics. Within each family, the 'regular' and 'bold' weights are style-linked, and all upright forms have an italic counterpart. The full opentype character set includes latin, greek and cyrillic scripts with appropriate local variants (also as stylistic sets) for Turkish, Polish and Romanian (latin) and Russian, Bulgarian and Serbian (cyrillic). All fonts contain small capitals for all scripts, superscript for latin and commonly used greek together with the usual numeral style, size and positioning options. The default numerals are 'proportional lining'. Other opentype features include case-sensitive marks, fractions, and some discretionary ligatures. A set of circled numerals and circled latin capitals is included, along with an unusual feature that composes 2-character country codes.

Remember clear summer days as a kid? Remember open fields that you explored? Sun shining? Simple breezes sweeping past your face as you ran far and free? The feeling was uncomplicated and enjoyable. It was natural. That’s Verao, the simple spirit of summer. Alive and vibrant, Verao takes a turn away from the cold structure of today’s rigid creations and embraces the movement back to the value of things handmade. This artisan creation represents the rare, soul-invested fusion of the craftsman’s tools, materials, and hand movements, which shapes the solid--but beautifully defined--parts, pieces that, when put together, breathe a measure of life into everyday paragraphs and other bodies of text. Verao’s hand-written brush script, with its characters’ imperfect elegance and handmade quality, keeps your work looking organic. Write a word in more than a hundred different ways thanks to the large number of extra letters it offers. Two sets of lowercase alternative letters without connectors are included as is a set of swashed endings. Verao contains stylistic substitutions and ligatures, too, that you can combine however you like. Whichever way you design, the elements continue to appear balanced and separate and will undoubtedly add more personality to your design. So stop switching out cogs in your rigid set of fonts. Take time again to play with a natural face that’s both easy and energetic. Verao’s great temperament makes it a joy to design with. Let this spirit of summer take you away from the mundane. There’s a good chance Verao will lead you where you need to go. Production assistance from Lucas Azevedo.

Standing tall as an Illinois cornfield in September, Cornhusker Regular is a strapping condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & charming characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Regular is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Regular includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

Range Serif is a sharp, contemporary, wedge serif typeface with just a hint of fraktur influence. There are five weights from light to black, each with corresponding italics. This is a typeface designed for demanding typographic work; it’s legible at small sizes, but unique at display sizes. There is an abundance of OpenType features in each font, including: Ligatures - all fonts contain standard f-ligatures. Contextual Alternates - Range Serif has been carefully designed to not ‘need’ ligatures. If you choose to deactivate them, the contextual alternates feature will make sure an alternative f is used before certain letters to avoid clashing. Fractions - When activated, numbers separated by a slash will automagically turn into fractions. Numerals - There are many different figure sets. These are Proportional Lining, Tabular Lining, Proportional Oldstyle, Tabular Oldstyle, Superiors and Scientific Inferiors. A slashed zero feature is also included. Small Caps - All styles include small caps, for both small caps and capitals to small caps functions. Ornaments - For convenience, the arrows are grouped in the ornaments feature. Case Sensitive Forms - There are different punctuation and bracket glyphs for all caps usage. Stylistic Alternates / SS01 - The italic fonts contain alternates for the letters A, K, R, U and X. Range Serif is a versatile and fully-featured typeface, ideal for corporate identities, contemporary art catalogs, even t-shirt slogans. The language coverage is impressive (Latin Extended A is fully covered) so Range Serif should prove a useful text and display workhorse for speakers of many different tongues. The typeface includes an array of currency symbols, including the new symbols for Indian Rupee and Turkish Lira. Also check out the accompanying sans serif version, Range Sans.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

Eckhart™ is a modern didone, high-contrast typeface designed to create elegant, original and expressive character. This versatile font family is delivered in four optical sizes, making it a complete type system for all kinds of use, from branding to setting paragraph text. It is equipped with ligatures, swashes and alternates to enrich design possibilities and make it very distinctive as a display typeface. Eckhart family features a very playful and energetic color font, giving broad new possibilities of display use, especially interesting for posters and magazines. Eckhart Color is delivered both as OTF color font as well as regular layered font in 6 layers - it helps to achieve maximum software compatibility and control over colors. Eckhart consists of 74 fonts in 4 optical sizes - 33 uprights and their corresponding true italics + color fonts. It has extended language support as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, stylistic sets, lining, oldstyle figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols. --- Color font - user information: Eckhart Color Folk - OTF color font format has pre-defined color palette. In order to change the colors, please convert the text to outlines. You need compatible software to use the OTF color file, such as Adobe Photoshop CC, Adobe Illustrator CC, Pixelmator, etc. Eckhart Color Layered fonts - use the fonts one on top of the other in the order the fonts are numbered. These are regular OTF files, they work in all professional graphic software and you can edit the color of each layer. For web use - please use the color fonts as graphics, because not all web browsers support them.

Violety Dreams is a serene and elegant serif font that will transport your designs to a realm of beauty and sophistication. With its timeless letterforms and delicate swinging strokes on select letters, this typeface evokes a sense of tranquility and grace. This serif uniqueness in its graceful swinging strokes, which adorn certain letters, adding a touch of whimsy and charm. These elegant extensions create a sense of movement and fluidity, capturing the essence of grace and elegance. Inspired by the ethereal nature of dreams and the delicate beauty of violet flowers, Violety Dreams embodies a sense of tranquility and enchantment. The serif letterforms are meticulously crafted to exude elegance and sophistication, while the swinging strokes add a unique touch of whimsicality. This font strikes a perfect balance between classic charm and imaginative flair. The letterforms are designed with precision and clarity, ensuring legibility and readability. Each letter retains its distinctive shape, while the swinging strokes create a visual interest and draw the eye. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Violety Dreams is well-suited for headings, titles, invitations, wedding stationery, luxury branding, editorial layouts, branding materials, and any design project that calls for an elegant and dreamy typography. 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

Karoline is a lovely script font with beginning and ending swashes, 31 ligatures that add more beautiful and aesthetic fonts to perfect your extraordinary project. Karoline is a lovely script with handwritten, sophisticated flows. It is perfect for branding, wedding invites, and other romantic projects. "Karoline" includes a full set of uppercase and lowercase letters, multilingual symbols, Alternate,numerals, punctuation and ligatures. Also it includes: -short lowercase beginning and ending swashes which serve to connect two words or letters (This is so perfect for invitations, monograms) All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported.so it would be perfect for all types of printing techniques+you can do embroidery, laser-cut, gold foil, etc. You can mix and match with Opentype feature: Ekstras 31 ligature More than 540 of glyphs Alternates Stylistic sets from ss01 to ss04 If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/ Thanks and happy designing :-)

Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood type. In 2020 the Italiantype team directed by Cosimo Lorenzo Pancini and Mario De Libero decided to produce a revival of Cairoli, extending the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper ink-traps and round punctuation, while slightly correcting the curves for a more contemporary look. Born as an exercise in subtlety and love for lost letterforms, Cairoli stands, like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs. Its deviations from the norm are small enough to give it personality without affecting readability, and the expanded weight and width range make it into a workhorse superfamily with open type features (alternates, stylistic sets, positional numbers) and coverage of over two hundred languages using the latin extended alphabet.

Wak Ndjon is modern chick calligraphy font that is made by Ferry Ardana Putra. This font made by natural pen which inspired by natural writing and random scratches. Wak Ndjon is modern calligraphy typeface which has a luxury feels with additional swashes, alternates and ornaments. Combined that precious combos to make your best natural-signature feel on your glamour project! Wak Ndjon is perfect for branding, photography, invitations, quotes, watermarks, advertisements, product designs, social media posts, stationery, labels, and more! Wak Ndjon features: A full set of upper & lowercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters +497 Glyph Ligatures Swashes Ornaments OpenType Features ——— ??To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ??For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y ——— ?Important tutorial from the author: Tutorial for Mollusca font trio: https://lnkd.in/d984CQD6 How to use Midway | Retro Script Font on illustrator: https://lnkd.in/eusbZd7s How to use Midway | Retro Script Font on Photoshop: https://lnkd.in/evsYrwgs ——— ??Get in touch with the author: Instagram: https://www.instagram.com/ardana619 Behance: https://www.behance.net/ardana619 ——— ?Thankyou for purchasing our product, hope you like and have fun with our product. If you have any queries, questions or issues, please don't hesitate to contact us directly. If you satisfied with our product, please give 5 stars rating. ——— Happy Designing...?

Hai Folks! The Auratype is retro and classic typeface who inspired by the 60s - 80s designs with more unique explored style like swosh and alternate character. This font made from manual sketch with many many scratch then finished to font. Make your designs project with this font and extras illustration to give more superb. This font also suitable to design like logo, sticker, tees design, banner, poster, sign, display design, packaging and more superb designs! Enyoy with our product and feel free contact us for support! Features : Full set of Upper & Lowercase Character Number & Punctuation Swosh Alternate Extras Illustration Multilingual Language PUA encoded Opentype Features _________ ▼To using the feature OpenType Stylistic alternate (including swosh), you must use program that supports OpenType such as Adobe Illustrator CS, Adobe Indesign, Corel Draw X6-X7 and Microsoft Office 2010 or later versions. Additional way to access alternate/swoshes are using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or more program which has Pop Character. ▼For more information about accessing alternative, you can see on this link : http://adobe.ly/1m1fn4Y ✌ Get in touch with author https://www.instagram.com/wahyudwi.cc/ https://www.instagram.com/auratype/ https://www.behance.net/fontsfighters ❤ Thank you for purchasing our product and supporting us! We hope this font can be part of your designs project. If you have other queries, questions or issues, just feel free and have fun to contact us directly. We are glad if we can help you more! If you are happy with our product, please put your star into our design reviews, it was so fantastic moment for us. Thanks! :)

Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Offense is an unyielding rectangular slab-serif face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Offense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Crypto-typography - the passion for unknown, weird and unusual character shapes - is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design. Hagrid is a typeface designed for editorial & display use, bringing dynamism to the printed and digital page thanks to its extreme contrast and unique details. It has been developed in a range of six display weights ranging from the monolinear and more traditional thin to the expressive heavy weight. For better readability in small sizes and on the web, a companion text family has been developed, with a slightly different selection of weights, wider metrics, and fine adjustments to keep the dynamic expressivity of the design without sacrificing legibility. This is evident in the design of italics: while the display italics sport a cursive feel with calligraphic terminals to lowercase letters, the text design is more restrained, with a more classical geometric grotesque slanted look. Given the crypto-typographer love for foreign specimens of letters, special care has been put into making Hagrid ready for multilingual projects, giving it an extended character sets covering over two hundred languages that use Latin, Cyrillic and Arabic alphabets and adding a selected range of OpenType features to handle alternate forms and stylistic sets.

The joy of pure geometry, revisited. Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. To further reduce the rigidity of a purely geometric composition, you can replace some letters with more humanist alternates, such as a, g, j, etc. This font family comes along in 8 weights from Thin to Black. Each weight consists of an Upright and Italic version. There are more than 750 characters per style, including two stylistic sets that offer variations to the look and feel of Flink, making it even more versatile. Plenty of additional Open Type Features like ligatures, case sensitive forms, old-style figures, and symbols make Flink a valuable tool for the discerning typographer. Flink is the reimagination of a classic genre, designed to suit the needs of our time. ––––– Please note: There is an upgraded Version available: Flink Neue

Discover the complete Eastman type family: Eastman Grotesque and Eastman Condensed! Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Gimbal Grotesque is a richly-featured font family providing many style options across a broad range of languages. It is twinned with Gimbal Egyptian, a slab-serif family with an identical range of weights and features. Originally conceived as a small webfont family, the letterforms have been revitalised to put a spring in their step and the family has been extended to create a versatile multi-script text face equally at home on the printed page. Carefully crafted at all weights, Gimbal also lends itself to headlines and display applications such as posters, exhibitions and signage while resolving well on-screen for general document creation and web-based applications. The letters are spaced for best readability on-screen and in the usual printed body text ranges but are tolerant of tracking adjustment to suit other uses. The styles are divided by width into four families (Compressed, Condensed, Normal, Extended), each family possessing six weights plus corresponding italics. Within each family, the 'regular' and 'bold' weights are style-linked, and all upright forms have an italic counterpart. The full opentype character set includes latin, greek and cyrillic scripts with appropriate local variants (also as stylistic sets) for Turkish, Polish and Romanian (latin) and Russian, Bulgarian and Serbian (cyrillic). All fonts contain small capitals for all scripts, superscript for latin and commonly used greek together with the usual numeral style, size and positioning options. The default numerals are 'proportional lining'. Other opentype features include case-sensitive marks, fractions, and some discretionary ligatures. A set of circled numerals and circled latin capitals is included, along with an unusual feature that composes 2-character country codes.

Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no? This was the foundational argument I made for myself when I drew the initial alphabet on my birthday last year (something I do each year, draw a new font, kind of a fun OCD thing). I wanted to see a wide, utilitarian sans that had more to it than just a basic character set and didn't resemble standard geometric models. As I continued sketching, the letterforms were being influenced more by my 'lettering tendencies' than the normal mechanical trappings of drawing flat, wide letters. The letters have retained aspects of letters created by hand — stresses, modulation, naturally ending terminals. Truncation and quick clipping of strokes became antithetical to the letterforms I drew, so I continued this once I brought the design into the computer. I kept it precise and dependable, but made every attempt to keep a conscientiously crafted typeface and not let it devolve into a grid-based drone. As such, it works just as well looking back in time as much as it does assuming a lead role in a sci-fi movie. Halogen does deliver and opts not to take a short cut and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. So go make cool print and digital things with it, now.

FangsALot is a bizarre typeface family that was designed to alternate two character sets. These sets are alternated automatically in applications that support the OpenType feature Contextual Alternatives (calt). The template used to design characters is a distorted triangle that resembles a curved tooth or a fang. This shape can be flipped horizontally, vertically, and both horizontally and vertically to give four orientations. Two of these orientations are used in the regular style and two in what is called the italic style. I thought the fang motif did not come through clearly in the regular and italic styles. Rather the impression they give is more like graffiti lettering. To emphasize the fang motif I added two more members to the family by filling fang outlines with unadorned sans-serif characters. Then to allow more color in lettering, I added two more styles with letters on black. I then had six styles based on triangles skewed left and right. Why not fill the family out with three more styles based on an isosceles triangle? The end result is a family of nine. All members of the family are monospaced and are hard to read. The three graffiti-like styles have some alternative letters that can be accessed with the OpenType feature Stylistic Sets. Also, for each style it is possible to use only one set of characters by adding a space after each letter and then adjusting the character spacing. The graffiti-like styles can be useful in situations where the hard-to-read property is not important but where a menacing and vicious touch is needed, such as topics of sharks, teeth, biting, and vampires.

California Kingston display is a typography design product that is specifically created for use in the headlines, titles, or other prominent text elements of a design. This typeface is often characterized by its bold, attention-grabbing appearance and its ability to make text stand out on a page. The main goal of a California Kingston font display is to create an impact and draw the viewer's attention. This is typically achieved through the use of thicker and more pronounced strokes, unique shapes and design elements, and often, a more stylized appearance. California Kingston displays can be used in a variety of design projects, including posters, logos, packaging, advertisements, and more. They are often paired with complementary fonts to create a well-designed and cohesive visual identity. When choosing a California Kingston font display, it is important to consider the project's overall aesthetic and message, as well as the intended audience. It's also essential to ensure that the font is legible and easy to read, even at smaller sizes. Overall, a California Kingston font display is an excellent way to make a bold statement in a design and to capture the viewer's attention.

Say hello to the freshly baked beautiful and neat vintage serif font! Amazing handwritten font Nieves :) The unusual, freshly baked font is perfect for greetings, illustrations, children's books, delicious packaging, labels, logos and much more :) This beautiful neat retro font with imperfect ink edges and slightly sloppy shading is inspired by nature. Eco-friendly fashion takes into account the health of consumers, the health of the planet. The font "Nieves" is perfectly combined with any stylized graphics, watercolors, and also looks great on its own within the framework of a minimalist design. Play with letters to get different effects. Font features: A-Z; character set a-z; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for checking this out and feel free to write me a message if you have any questions! ~ Anastasia

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Gealman is a Grotesk font that stands out for its simplicity, cleanliness, and rigidity. It delivers a modern look and a touch of elegance to any design project, making it highly versatile. Gealman is great for posters, marketing materials, logotypes, headlines, and more. It pairs perfectly with script, blackletter, stylized, and other fonts. Gealman offers a range of functional aspects, including various styles and character sets. It features a robust character set that supports multiple languages, making it an excellent choice for global branding projects. The design concept behind Gealman was to create a timeless typeface that is both contemporary and classic. The font's sleek, clean lines and geometric shapes give it a modern feel, while its classic proportions provide a timeless elegance. Gealman is unique because it combines simplicity with elegance, making it perfect for a wide range of design applications. Whether you're creating a logotype or designing a poster, Gealman is a versatile and reliable choice. Gealman is not based on a historical design or a revival, but it draws inspiration from classic geometric sans-serif typefaces. Its design is rooted in the concept of precision and balance, which gives it a clean and timeless aesthetic.

Mousse Script is based on Glenmoy, a 1932 Stephenson Blake typeface. Glenmoy a prime example of what display typography was in pre-WWII American ad art. It graced the pages of magazines, sold numerous products and services, then simply died out when the typographic trends shifted towards the more personalized, stylized and handwritten types of calligraphy. The current trend in typography is a revivalism that brings all of the distinctive display typography of the 20th century, without chronological discrimination, back in the name of ‘retro’. Who are we to deny the masses what they want? Mousse Script doesn’t just bring Glenmoy back from the ashes of the 20th century. It expands upon the limited metal character set nearly twice over and takes advantage of the latest type technologies. This makes Mousse Script a striking typeface, both functionally and visually. A simple, attractive display font on the surface, Mousse Script is unique in its bold upright calligraphy, something rarely found these days. The OpenType version of Mousse Script combines both the regular and alternate character sets into a single, cross-platform package that takes advantage of the extended typographic features of the OpenType format.

Get to know the beautiful natural and neat font "Koni"! This beautiful neat retro sans-serif font with imperfect ink edges and a little sloppy shading is inspired by nature. This is a textured font in vintage style with capital letters. The letters here are clearly distinguishable, and interesting touches give it uniqueness. Eco-friendly fashion takes into account the health of consumers, the health of the planet. The font "Koni" is perfectly combined with any stylized graphics, watercolors, and also looks great on its own as part of a minimalist design. Play with letters to get different effects. Great for branding, invitation design, packaging design, quotes, label design and more. Font features: - A-Z; character set a-z; - 1 language (English); - numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love and magic ♡ Thank you for checking this out and feel free to write me a message if you have any questions! ~ Anastasia