Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

Linkpen Primary is a font family for teaching handwriting. It is designed to be used by teachers and parents to help children or adult learners practice their handwriting, at home or at school. Linkpen Primary gives you endless possibilities for creating your own educational resources - worksheets, signs, labels, etc. - to appeal to your learners and get them interested and passionate about learning to write. This versatile font family contains 24 styles, each with special features that support learning to write. For ultimate flexibility, styles are available with and without guide lines, and in regular and italic versions. The styles can each be purchased separately or as a complete family value pack. The letter shapes have been designed to be clear, simple and easy to read. There are 12 print styles designed for beginners or younger children, to allow them to practice writing the letter shapes. The print fonts all come in Regular, Guide, Dotted, Dotted Guide, Outline, and Arrow styles, to give learners different ways to build their confidence creating the letter shapes. There are 12 Join fonts, for when your learners are ready to progress onto joined up handwriting. The Join fonts automatically join up as you type on your computer, tablet, or interactive whiteboard, producing beautiful, neat, clear joined up text for your classroom or home resources. The Join fonts come in Regular and Dotted styles, as well as a special Connect style which highlights the join between letters, to help your learners make the transition from printed writing to joined up. The Join fonts are created with OpenType Contextual Alternate rules, which ensure that the joins are always formed correctly, depending on the context of each letter within a word. Compatible with Microsoft Word and Publisher 2010 onwards (desktop version), SMART Notebook 18 onwards, Pages and Keynote for iOS, TextEdit for macOS, LibreOffice 6, Notepad for Windows, and Promethean ActivInspire Version 2.21 onwards.

ZX Spectrum In 1982, a home computer came on the market that would launch the UK IT industry. The ZX Spectrum sold five million units and spawned thousands of software titles. It was the must-have gadget for every teen. FS Sinclair is inspired by the memory of Sir Clive Sinclair’s greatest creation: the experience of entering its clunky command codes and reading its simple, grid-placed type. Smart, switched-on, great in text and display, FS Sinclair is a modern grid-based font, drawn with the Spectrum in mind and brought to life by well thought-out design. Formula Having completed the font for Channel 4’s brand update, the Fontsmith team defined the formula for its next font: the creative essence of the C4 work but with more structural discipline, more rigid form and a little more seriousness. The new font wouldn’t look self-consciously retro but it would reference the past and, it was hoped, influence the future. Readability Like the ZX Spectrum, it took a while for the new font to do exactly what it was meant to do. Many of the early concepts by Phil Garnham and Jason Smith were too jagged – the result of an awareness of getting too close to existing fonts of the same ilk, such as Wim Crouwel’s Gridnik. Eventually, FS Sinclair evolved into a more readable, functional grid-based type design that answered Phil and Jason’s original, self-set brief. Idiosyncratic There’s a technological, systems feel to FS Sinclair but ultimately, humans are in charge. The lowercase “a”, “n”, “m” and “r” have clean-cut “ears”, and the square-ish design is softened by round joins on the inside of the letterforms. The idiosyncratic design of letters such as “g”, “j”, “k”, “v”, “w” and “y” bring the design up to date. This is a modular font with character, and a range of weights that allow varied application.

The classic modernist FS Alvar grew out of a library of pure modular shapes gathered by Fontsmith’s master of the abstract starting point, Mr Phil Garnham. “It was a collection that just had to be explored and brought to life in a typographic voice. “We debated long and hard about this. It was big decision to make a shift away from the typefaces that people knew us for. And we didn’t want to compromise our reputation of well crafted typographic quality”. Modular forms A headline font that’s both graphic and functional, in the modernist tradition, FS Alvar focused Fontsmith’s eyes on the bigger issue of what makes a font show its age. “Looking at those fonts from the 1980s that were supposed to represent the ‘future’,” says Phil, “they looked so dated now. With Alvar, we weren’t concerned with creating future-thinking typography but with exploring form for form’s sake, and how that can evolve to create letterforms. Modular forms with a typographic eye.” Stencilled The concept for Alvar first materialised back in 2001 with some sketches Phil made while still at Middlesex University. Eight years later, something made him dig them out again. “There was something really nice about the proportions of that first design. Working on it again, I thought about it properly, but it still needed something to give it that edge. “Jason stood up in the studio and supplied the missing link: ‘Why don’t we make it stencilled?’ He didn’t mean in an obvious way, but by building a kind of architectural stencil into the form. It worked and the idea of using an architect’s name (Alvar Aalto) to describe the font felt perfect.” Featured in... The three weights of FS Alvar are made for standout headlines in advertising campaigns and magazines. Alvar has had a starring role in campaigns for brands from Nike to Amnesty International, as well as on CD covers, record labels and packaging.

Get ready to burn rubber with Heavy Heap—the ultimate typeface for fans of hot-rod culture and high-speed thrills! This groovy psychedelic typeface is on fire, with a scorching look that’s sure to turn heads. With three sizzling weights to choose from, you can customize your typography to match your project’s intensity level. And with blistering mathematical symbols, torrid OpenType fractions, and a range of searing hot currency symbols, Heavy Heap is ready to take on any design challenge. But this headliner is more than just a pretty face—it’s a powerhouse of design options. It looks outstanding when used with warp and envelope effects, allowing you to create dynamic, eye-catching layouts that really pop. And with its bold, energetic style, Heavy Heap is perfect for any project that needs a little extra heat. From posters to flyers, from logos to website headers, this font is the ultimate choice for anyone who wants to make a brave statement. So rev up your engines and get ready to hit the road—with Heavy Heap, you’ll be riding in style! 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.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Meet the new TT Trailers! The first version of TT Trailers was conceived as a font suitable for the film industry. The font harmoniously looks in posters, it is ideally suited for setting titles. However, the font has gained wide popularity among designers, and now you can find TT Trailers on the covers of magazines, on restaurant signs and on the main pages of websites. TT Trailers useful links: Specimen | Graphic presentation | Customization options Since 2019 when we released the first version, the TypeType studio team has released dozens of fonts, constantly improving our skills. In 2022, we decided to look at TT Trailers again, improving and expanding the font. In the new TT Trailers, we expanded the character set, corrected the contours, and improved the technical content. We have added extended Latin and Cyrillic characters, new symbols, and additional sets of numbers. The number of glyphs in one style has increased from 1081 to 1242. The inclined styles were long-awaited. The italics in TT Trailers are as eccentric as the upright fonts. The 15-degree tilt looks absolutely harmonious, complementing the character of the font family. We added italics to the variable font, so the new font changes along two axes at once, weight and slant. From the technical point of view, TT Trailers has become more modern and correct, and the number of OpenType features has increased from 29 to 42. We have added new alternative versions of glyphs and created a large number of localized features. The font retained all the qualities thanks to which designers fell in love with it, but became even more convenient. TT Trailers in the new version is suitable for titles and posters, for websites and printed materials. The font will embellish in restaurant and cafe signs and look beautiful in posters. There are 19 styles in TT Trailers: 9 upright, 9 italic and 1 variable font.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in an old magazine which was issued sometime in the years shortly before WWI. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. ingoFonts has not only digitized this beautiful typeface, we have also extended it to a whole family. In »Maier’s Alte Nr. 8« special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch, while »Maier’s Neue Nr. 8« is the clean version with exact contours. The Art Nouveau forms, which are characteristic for the period of origin around the turn of the century around 1900, look especially pretty. The high degree of abstraction also seems strange in Maier's No. 8, especially when the age of the original is known. It is generally assumed that it was not until the Bauhaus in the late 1920s that such "modern" typefaces were created. Maier's No. 8 is a generation older! So many of today's supposedly "ultramodern" typefaces look quite old in comparison. In addition to the original two weights, Light and Bold, the Maiers Neue Nr. 8 got a regular and a extra-bold weight. Furthermore, the Neue is also available in italics. Although this is only a slanted version, unlike common practice, it is inclined to the left. Maier’s Nr. 8 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

Are you ready to elevate your design game with the unique counterless 21st Century Art Deco typeface, Pound? Pound is not your average typeface. Its bold, beefy design is perfect for pounding out meaty phrases with confidence and vigor. With its counterless design, Pound stands out from other typefaces on the market, making it the perfect choice for designers looking to make a bold statement. One of the key features of Pound is its letter pair ligatures, which interlock and break up the monotony of plainly repeating characters. You can turn off your application’s “standard ligatures” function to disable this effect. In addition to its unique design, Pound is also available in a simpler Web style for situations where less detail is required. So what are you waiting for? Take your designs to the next level with Pound, the counterless Art Deco typeface that packs a punch. Get ready to make a statement and stand out from the crowd. 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.

Hey there! Are you looking for a typeface that exudes rugged individuality? Look no further than Hit! This display font boasts a textured design that gives your words a raw and weathered edge. With Hit, you can add a touch of crusty confidence to any message. Whether you’re creating a bold poster or a striking logo, this typeface will help you stand out from the crowd. Its unique, rough aesthetic is perfect for brands and designs that want to convey a sense of personality and authenticity. But don’t let its rough edges fool you—Hit also has a playful side. Its levity adds a touch of humor and lightheartedness to any design. Plus, its versatility means it can be used for a wide range of projects—from vintage-inspired graphics to contemporary designs with a twist. Overall, Hit is a typeface that dares to be different. So why not let your words stand out with its textured design? Give your message the voice it deserves with this intriguing and rugged typeface. 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Layered font set 3D Bulb lamp Bulblamp is a 12 component font system that can be layered in different ways to create endless classic titling effects used commonly in signage by skilled sign painters and sign makers and any who interested in simple and flexible ways to make graphic design. Examples of how to use this you can see on the images. Moreover, You can start fast in Figma, Illustrator and Photoshop with predefined downloadable package. ! Download free predesigned Figma, Illustrator and Photoshop sets for this fonts here: https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs Each file is named according to its purpose. The number indicates the recommended order of the layers. 1 below, 5 on top. 1 means you should place it first. Of course, you do not have to use all the fonts, and vice versa - you can repeatedly use the same font style with different styles. What is Layered font? In fact, these are common fonts located in a stack strictly one above the other. This allows quickly create unique text effects using ordinary fonts. Where can you use this? These fonts can be used in any program that allows you to stack fonts as objects strictly one above the other, however it is recommended to work in professional programs such as Illustrator, Photoshop, Figma and so on ... How to use this font set quickly? For quick use, I recommend using ready designs for Figma, Photoshop or Illustrator. Download fonts and Install all fonts. Go to the link https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs which has contained pre-made solutions for this font applicable in Figma, Photoshop or Illustrator and download presets. Follow the recommendations on the pages. Basically, you will need to replace the words in the template with your own, then edit colors and transfer the result to your design. In that’s all, it's easy.

Cinema Macabre: Horror Fonts Torn from the Pages of Giallo A Hand-drawn Display Font for Creating the Most Diabolical Horror Titles This loose and inky brush font takes its inspiration from the classic Giallo film posters of the 1960s to 1980s - a cult cinematic subgenre beloved for its stylish visuals, haunting soundtracks and exploitation led marketing. It's a devilishly drawn design that aims to capture the feeling of vintage horror, preserving analogue details of old print while remaining versatile enough to work across a variety of digital designs. The Cinema Macabre font family boasts six fonts, each containing a unique set of uppercase and lowercase characters, as well as numerals, punctuation and language support. Add to this a host of custom ligatures, underlines and graphic elements and you have an essential toolbox for creating truly hand-made looking title designs. Cinema Macabre if a font that rewards experimentation by mixing all the various upper and lowercase alternatives, with interesting combinations waiting to be found and inspire terror across your own movie posters, book covers, albums and editorials. Few other fonts offer the versatility to create such diabolical designs! A Brief Introduction to Giallo: In popular cinema, Giallo is a genre of mystery fiction and thrillers often containing slasher, psychological horror, exploitation, supernatural and erotic elements. The term giallo (meaning yellow) derives from a series of pulp novels published by Mondadori from 1929 taking the name from its trademark yellow covers. The series consisted of Italian translations of mystery novels by well-known authors such as Agatha Christie, Edgar Allan Poe and Raymond Chandler. The popularity of these cheap paperbacks eventually established the word Giallo as a synonym in Italian for a mystery novel. The cinematic Giallo subgenre developed during the 1960-80s and are noted for their vivid cinematography, memorable soundtracks and inventive gore-filled scenarios. Key examples include Dario Argento's Suspiria, Tenebrae and Deep Red - stylish films that at once influenced the American slasher (see Black Christmas and Friday 13th) up to todays horror in Censor and Last Night In Soho.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

TT Bluescreens useful links: Specimen PDF | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Meet the upgraded TT Bluescreens! TT Bluescreens is a geometric sans serif with narrow proportions. The font has a memorable character, while remaining neutral, so it can be used in various design projects. The range of possibilities of the updated TT Bluescreens has become much wider! Condensed styles with narrowed proportions have been added. The classic styles of TT Bluescreens are universal and suitable for setting both in headings and in text arrays. Condensed styles are intended for non-standard design solutions. In small sizes, they are perceived as if having a texture, thanks to which they can become part of packaging or poster design. In large size they look extraordinary, but they are highly readable and convey information well. Variable font now changes along 3 axes: weight, width and slant. Even more options for those who love variety. The character set of TT Bluescreens was expanded, and additional extended Cyrillic and Latin characters were added. Expanded character set. Each style has 874 characters. This is 253 characters more than it there were in the previous version. New currency signs, arrows, punctuation and fractions were added. Number of OpenType features increased from 18 to 31! The font has become even more functional and convenient thanks to a large number of ligatures, stylistic alternatives and localizations. The quality of the contours has become even higher, diacritics were improved. The updated TT Bluescreens is suitable for the design of covers and posters, it will look aesthetically pleasing in packaging design. It can be used in the design of titles and disclaimers. Condensed styles are preferably used in large size. The TT Bluescreens font has 37 styles: 9 upright and 9 italics of standard width, 9 upright and 9 italics in Condensed, 1 variable style. Each style contains 874 characters. The font has 31 OpenType features, including ligatures, stylistic sets, and localizations.

Welcome to the world of horror! Meet Croteau, the scariest typeface you’ll ever lay your eyes on. This font is inspired by the 1960s horror movies, so you know it’s going to be good. Use it to enhance the horribleness of your message and terrify your audience. With 250 spooky bespoke ligatures, Croteau can produce an intriguing interlocking letter effect that will give your design an eerie look. The letter pair ligatures help break up the monotony of plainly repeating characters, adding an extra layer of horror to your design. Use this OpenType-savvy app to create an unforgettable experience for your audience. But beware, turning off the “standard ligatures” functionality in your app may eliminate this effect. So keep it on and let the horror unfold. Step into the world of horror with Croteau, and give your designs a spine-chilling twist. Get ready to be scared out of your mind! 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.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. During the 80’s and 90’s, a lot of these logos leaned towards the geometric sans styles and the swiss styling of fonts like Handel Gothic, while playing with varying degrees of squared rounds and varying expanded widths per logotype. Mercurial has this flavor, but it wasn’t derived from logotypes. Instead, it began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Sam". It visual ties to this genre of automotive logotypes and fonts like Handel Gothic lend a familiarity to it, yet it has an identity all its own. As with so many automotive logotypes, this singular style film typeface, lacked an expansive family which shows off all potential the logotypes have and what they "could" be and do. And that's where we come in. What originally began as this family’s Regular Width - Bold Style has been expanded into a collection of 3 Width Families, each containing 5 Weights. Here’s what’s included with the Mercurial Complete bundle: 396 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the final poster graphics for a preview of the characters included) 3 widths in the collection: Narrow, Regular, & Wide 5 weights in each width family: Light, Book, Regular, Medium & Bold. Here’s why the Mercurial Family is for you: - You’re in need of stylish sans font family with a range of widths and weights. - You’re love those 80’s automotive logos, but want more range of use. - You’re looking for an alternative to Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

The silent film »The Cabinet of Dr. Caligari« (1920) is undoubtedly one of the breathtaking milestones within the German Expressionist Movement, a time of extraordinarily creative works of art as a reaction to a world in rapid change. The original intertitles of Caligari were worked out by the set designers (and painters) Walter Reimann, Walter Röhrig, and Hermann Warm, using a unique expressionistic language of form for dramatic and iconic lettering. When in 2010 KOMA AMOK’s Joerg Ewald Meißner and Gerd Sebastian Jakob were commissioned by the Institut Mathildenhöhe Darmstadt and publisher Hatje Cantz to design the catalog for the exhibition »The Total Artwork in Expressionism«—showing works of art, architecture, film, literature, theater, and dance—it was soon perfectly clear that a new typeface, inspired by the Caligari intertitles, should speak for all the expressionistic arts. An intense process of research and analysis began. The original letters of the Caligari intertitles were individuals on their own. Furthermore, each of the three title designers had added his specific approach to the basic Caligari type style. From hundreds of different As to Zs a choice had to be made, which should be THE characteristic Caligari letter for a digital typesetting font. Finally the chosen letters were cut and drawn again, missing letters were added according to the formal priniciples, all-in-all 1000 glyphs were digitised to complete a usefull OpenType font ready for use. When in the autumn of 2010 the exhibition started successfully with great media interest, the posters all over Darmstadt announced »You must become Caligari!« – set in the brandnew typeface. The font Caligari Pro offers alternative forms for every letter and a whole bunch of ligatures, thus creating an expressive, individual image of headlines and text. By using included Stylistic Alternates the image will get even more vivid. Caligari comes with a complete set of expressionist ornaments and true old style figures—thus the heyday of the Expressionist Movement and the era of the silent films can be revived typographically by the means of today: »Express Yourself!«.

Special Forces is the commanding slab serif headline typeface that will put some backbone into your message. Its efficient and rugged letterforms will give your words the strength they need to succeed in any mission. With its robust slab serifs, this typeface means business. You won’t find any fancy curves or delicate strokes here—this font is built to withstand the toughest of conditions. Special Forces is ready to take on any challenge, just like our brave soldiers in the field. But this font isn’t just tough—it also commands authority. When you use Special Forces, your message will have the power of a commanding officer. Whether you’re calling your troops to action or announcing a new campaign, this typeface will give your words the weight they deserve. And the best part? Special Forces comes in both regular and oblique styles, so you can choose the right level of intensity for your message. So don’t settle for a weak font that won’t get the job done. Choose Special Forces and take your design to the front lines. 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.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

Fioritura is a floral display typeface inspired by Sandro Botticelli's "Primavera" ("Spring") and Guiseppe Arcimboldo's "The Four Seasons" paintings. Fioritura means flowering in Italian, and the character composition consists of stems, leaves, flowers, and flying pollen. Scripts: Latin, Greek, Cyrillic. Language count: 480+. Glyph count: 1103. Kerning: 936 class pairs. Hinting: Not applied. Contextual Alternates: AA BB CC DD EE FF GG LL MM NN OO PP RR SS TT ZZ aa bb cc dd ee ff gg ll mm nn oo pp rr ss tt zz. To keep the writing natural, every second of two frequently repeated letters is automatically replaced by its alternative version. Turned on by default. Contextual Alternates: ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps mode. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: ABCDEFGLMNOPRSTZ abcdefglmnoprstz. Supported languages: Abenaki, Abron, Acheron, Achinese, Achuar-Shiwiar, Adamawa Fulfulde, Adangme, Afar, Afrikaans (Latin), Aghem, Aguaruna, Aja, Akan, Albanian, Alsatian, Amahuaca, Amarakaeri, Amis, Andaandi (Dongolawi), Anuta, Ao Naga, Apinayé, Arabela, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asháninka, Asturian, Asu, Atayal, Awa-Cuaiquer, Awetí, Aymara, Azerbaijani (Latin, Cyrillic), Baatonum, Bafia, Bagirmi Fulfulde, Balinese, Balkan Romani, Bambara (Latin), Baoulé, Bari, Basaa, Bashkir (Latin), Basque, Batak (Latin), Belarusian (Latin, Cyrillic), Bemba, Bena, Biali, Bikol, Bini, Bislama, Boko, Bora, Borgu Fulfulde, Bouna Kulango, Bosnian, Breton, Buginese (Latin), Bulgarian, Buryat, Bushi, Candoshi-Shapra, Cape Verdean Creole, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Cashinahua, Catalan, Cebuano, Chachi, Chamorro, Chavacano, Chayahuita, Chechen, Chewa (Latin), Chickasaw, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Colognian, Cornish, Corsican, Creek (Muscogee), Croatian, Czech, Dagaare, Dagbani, Danish, Dawan, Dehu, Delaware, Dendi, Dholuo, Dimli, Dinka, Ditammari, Drehu, Duala, Dutch, Dungan, Dyula, Embu, English, Erzya, Ese Ejja, Esperanto, Estonian, Ewe, Ewondo, Falam Chin, Fanti, Faroese, Fijian, Filipino, Finnish, Folkspraak, Fon, French, Friulian, Frisian, Fula, Gagauz (Latin), Galician, Ga’anda, Garifuna, Gen, Genoese, German, Gikuyu, Gilbertese, Gonja, Gooniyandi, Greek, Greenlandic (Kalaallisut), Guadeloupean Creole, Guarani, Gusii (Latin), Gwich’in, Haitian, Hakha Chin (Latin), Hän, Hani, Hausa (Latin), Hawaiian, Hiligaynon, Ho-Chunk, Hopi, Hotcąk (Latin), Huastec, Hungarian, Icelandic, Ido, Igbo (Latin), Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Ixcatlán Mazatec, Jamaican, Javanese (Latin), Jèrriais, Jola, Kabuverdianu, Kabiyè, Kabuverdianu, Kabyle (Latin), Kaingang, Kako, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kalmyk (Cyrillic), Kamba, Kanuri, Kaonde, Kapampangan (Latin), Kaqchikel, Karachay (Cyrillic), Karakalpak (Latin), Karelian, Kashubian, Kazakh, Kekchí, Kenzi, Khalkha (Cyrillic), Khasi, Khoekhoe, K’iche’, Kikuyu, Kimbundu, Kinyarwanda (Ruanda), Kiribati, Kirmanjki, Kirundi (Rundi), Kissi, Kituba, Klingon, Kölsch, Kongo, Konzo, Koyra Chiini, Koyraboro Senni, Kpelle, Krio, Kuanyama, Kumyk, Kurdish, Kven Finnish, Kwasio, Kyrgyz (Cyrillic), Ladin, Ladino, Lakota, Lamnso’, Langi, Latgalian, Latin, Latino sine Flexione, Latvian, Ligurian, Limba, Lingala, Lithuanian, Lobi, Lojban, Lombard, Low German, Lozi, Luba-Katanga, Luba-Lulua, Luo, Luxembourgish, Luyia, Maasai, Maasina Fulfulde, Macedonian, Machame, Madurese (Latin), Makhuwa, Makonde, Makwe, Malagasy (Latin), Malaysian Malay (Latin), Maltese, Mam, Maninkakan, Manx, Maore Comorian, Māori, Mapudungun, Marquesan, Marshallese, Masai, Matsés, Mauritian Creole, Mbelime, Megleno-Romanian, Mende, Meriam Mir, Meru, Meta’ (Latin), Metlatónoc Mixtec, Mezquital Otomi, Mi’kmaq, Minangkabau, Mirandese, Mískito, Miyobe, Mizo, Mohawk, Moksha, Moldovan, Mongolian (Cyrillic), Montagnais, Montenegrin (Latin, Cyrillic), Mossi, Mundang, Munsee, Murrinh-Patha, Murui Huitoto, Mwani, Naga Pidgin, Nagamese Creole, Nahuatl, Nama, Nateni, Navajo, Ndebele, Ndonga, Neapolitan, Ngazidja Comorian, Ngiemboon, Ngiyambaa, Ngomba, Nigerian Fulfulde, Niuean, Nobiin, Nomatsiguenga, Noongar, Norwegian (Bokmål, Nynorsk), Novial, Nuer, Nyamwezi, Nyanja, Nyankole, Nyemba, Nzima, Occidental (Interlingue), Occitan, Ojitlán Chinantec, Old Icelandic, Old Norse, Onĕipŏt, Oromo, Oroqen, Oshiwambo (Ovambo), Ossetian (Latin, Cyrillic), Otuho, Páez, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamentu, Pedi, Picard, Pichis Ashéninka, Piedmontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Prussian, Pulaar, Pular, Purepecha, Qiandong Miao, Quechua, Rarotongan, Romani, Romanian, Romansh, Rombo, Rotokas, Russian, Rusyn, Rwa, Sakha, Samburu, Sami (Inari, Lule, Northern, Southern, Pite, Skolt, Ume), Samoan, Sango, Sangu, Saramaccan, Sardinian, Scottish Gaelic, Secoya, Sena, Serbian, Seri, Seychellois Creole, Shambala, Sharanahua, Shawnee, Shilluk, Shipibo-Conibo, Shona, Shuar, Sicilian, Silesian, Siona, Slovak, Slovene (Slovenian), Slovio (Latin), Soga, Somali, Soninke, Sorbian (Lower, Upper), Sotho (Nothern, Southern), Spanish, Sranan, Sukuma, Sundanese (Latin), Susu, Swahili, Swazi, Swedish, Swiss German, Tachelhit (Latin), Tagalog, Tahitian, Taita, Tajik (Cyrillic), Talysh, Tasawaq, Tatar (Cyrillic, Latin), Tedim Chin, Teso, Tetum, Ticuna, Timne, Tiv, Toba, Tojolabal, Tok Pisin, Tokelauan, Tonga, Tongan, Tosk, Totontepec Mixe, Tsafiki, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin, Cyrillic), Tuvaluan, Tuvan, Twi, Tzeltal, Tzotzil, Uab Meto, Ukrainian, Ulithian, Umbundu, Urarina, Uyghur (Cyrillic), Uzbek (Latin, Cyrillic), Vai, Venda, Venetian, Veps, Vietnamese, Volapük, Võro, Vunjo, Waama, Waci Gbe, Wallisian, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waorani, Waray, Warlpiri, Wasa, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof (Latin), Xavante, Xhosa, Xwela Gbe, Yagua, Yanesha’, Yangben, Yanomamö, Yao, Yapese, Yindjibarndi, Yoruba (Latin), Yucateco, Záparo, Zapotec, Zarma, Zazaki, Zulu, Zuni. The promo images used photos of Cottonbro, Maria Lindsey from Pexels, and Andreea Popa, Wyron A from Unsplash.

Hey there, font fanatics! Have you met Bonobo? This casual-style transitional serif typeface is the perfect addition to your font collection. With its robust uprights adorned with blunt serifs and curls, Bonobo exudes a friendly yet sophisticated vibe. But that’s not all—the italics are flared and laid back, adding a touch of playfulness to your designs. And the best part? Bonobo comes in a variety of weights to suit your every need—Regular, Semibold, Bold, and Italic. So whether you’re crafting a brochure, designing a logo, or just jazzing up your social media posts, Bonobo has got you covered. Why settle for boring fonts when you can add a little personality to your work with Bonobo? Try it out today and see the difference it makes! 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.

DESCRIPTION With Skill I wanted to create something wild. Something that splashed the letters with life. To do this, I knew I'd have to break the barrier between analog and digital, so I took my best brush and started to play. Throughout the years as a type-designer I've met and become fan of many calligraphers. My belief that only a good calligrapher can make good typography (1) has become even stronger. I'm now absolutely sure that only practice improves the skill, especially in this field. So, with this in mind, I started a font which was a challenge for me because sometimes the gap between paper and screen can be gigantic. Skill is another of my attemps (2) to capture the spirit of the pointed brush, its expressiveness, the passions and fears of the artist. This font is about freedom. Freedom everywhere. Movement, velocity, passion. To achieve this, many alternates and ligatures per glyph were designed. Use it on magazines, posters, book covers, music albums, t-shirts, skates, tattoos. NOTES (1) This is mostly referred to script fonts, though text fonts made by designers with a deep calligraphic background have at least to me, an extra charm. (2) See my fonts Live and Indie. TIPS Thanks to Open-Type, the font gives the user the chance to play and get many wonderful results: In example, using the font with “discretionary ligatures” activated will give more life to the written word. Some letters will jump of the base, while others will ligate or not with the following (typical of gestural calligraphy). Adobe Illustrator is recommended. STYLES Skill is the most complete style. It has all the alternates and ligatures that can be seen in the posters and more! Skill Standard is a variant with no decorative glyphs. It has the basic alphabet and some ligatures for better legibility.

Outlook Font Duo offers a perfect combination of elegance and versatility by seamlessly blending serif and script font styles. This font duo provides a harmonious balance between a sophisticated and traditional serif typeface and a stylish and handcrafted script font, resulting in a visually captivating and dynamic typography experience. The serif font of Outlook Font Duo exudes a sense of refinement and classic appeal. Its letterforms are meticulously crafted with clean lines, precise curves, and balanced proportions, also includes many ligatures (CC,CO,EA,GG,GO,KA,LA,NN,OC,OG,OO,RA,TT) and dligatures (CC,CH,CI,CO,LL,LI,OC,OF,OH,OI,OO,OU) which lso you can see in the preview. Complementing the serif font, the script font of Outlook Font Duo adds a touch of creativity and informality. The script font features hand-drawn letterforms with rough strokes.This script font also includes ligatures, lowercase swsh which lso you can see in the preview. The versatility of Outlook Font Duo lies in its ability to be used together or separately, offering flexibility in creating various design compositions. Outlook Font Duo is suitable for a wide range of design projects, including branding, logos, packaging, invitations, and editorial 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

When Patricia Lillie was growing up, she thought the coolest thing in the world would be finding her own name listed in a library catalog. The fantasy came true in 1986 when her first children's book was published. Five more followed. The thrill of seeing her work on library shelves hasn't abated, but today, Lillie is just as likely to see one of her typefaces on the cover of a book. She has created several display faces and image fonts. My first typeface designs were based on lettering I'd done while working for a library, doing graphics work for the children's section," she explains. "I currently do a lot of web design, but type is my favorite thing." The Tickles (ITC Tickle and ITC Tickle Too) are Lillie's first ITC typeface releases. "I was playing around with a Sharpie marker one day and liked the way the letters looked," she recalls. "I started redoing the letters from scratch in Fontographer to see what developed, and liked those letters too." ITC Tickle is a bi-form font (with both cap and lowercase letters of the same size) that clearly breaks a typographic rule or two. ITC Tickle Too has the same basic lettershapes, but they've grown clusters of stipples that give a three-dimensional quality to the design. The result is a friendly, offbeat display family that's guaranteed to add a giggle to your work."

Introducing Ligurino, the sleek and sophisticated sans-serif typeface that is the epitome of clean design. With its gentle yet elegant appearance, Ligurino is sure to elevate any project it graces. Ligurino’s clean style is its greatest asset, boasting a simple and minimalist aesthetic that maximizes readability. Whether you’re designing a logo or crafting a body of text, Ligurino’s legibility will ensure your message is communicated loud and clear. What’s more, Ligurino comes with an OpenType “stylistic alternatives” function, which allows you to access an austere “Q” for added versatility. Plus, with three widths, six weights, italics, and an all-caps outline style, you have complete creative control over your project. Ligurino’s contemporary design is the perfect blend of form and function. Its modern yet timeless appearance is sure to make a lasting impression on your audience. So why settle for anything less? Choose Ligurino and let your design stand out with its refined and polished look. 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, Maori, 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.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™, and Soho®.

Welcome to the world of typography where every letter counts! Today we’d like to introduce you to our charming small-cap typeface—Kelvingrove. Inspired by the elegant Copperplate style, Kelvingrove is designed to add a touch of sophistication to any project. What makes this typeface truly special is its legibility, thanks to its eye-catching slab serif design. One of the unique features of Kelvingrove is the alternate K, Q, R, and small ampersand that can be accessed via OpenType stylistic alternates in applications that support them. This allows for endless creative possibilities and adds an element of personalization to your designs. Not only is this font aesthetically pleasing, but it’s also incredibly practical. The numerals are properly balanced for use with both caps and small caps, making it an excellent choice for headings, captions, and body text. When you need a typeface that exudes elegance and solemnity, but with a more distinct, captivating flavor, Kelvingrove is the way to go. With its unique blend of style and legibility, your designs are sure to stand out. In summary, Kelvingrove is the perfect choice for designers who want to add a touch of sophistication to their work without sacrificing legibility. Try it out for yourself and see the difference it makes! 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.