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

The font "Gaidar" named in the honour of Arkady Gaidar. He was a Soviet writer, whose stories were very popular among Soviet children, and a Red Army commander. He died in combat fighting with German nazis in 1941. Few generations of Soviet kids are raised on his books and a number of films were made based on his stories. This font inspired by posters, movie titles and book covers of this writer. The letterforms are bold and gnarly and comes in 2 styles: uppercase and small caps. It has LATIN and Extended Eastern Europe CYRILLIC letters. "ST-Gaidar" created for titles, poster design, web design, branding and packaging works, illustrations, badges and other typography works. Pls, don't use it for for typing large arrays of text. ST Gaidar supports 15+ languages: Belarusian, Bosnian, Bulgarian, Croatian, Dutch, English, German, Macedonian, Norwegian, Russian, Serbian, Swedish, Spanish, Slovenian, Ukrainian and probably others

Nobody Home JNL is unusual in nature as it combines two vintage typestyles into one font. Both have been used for home and property identification for decades and still remain popular. Over the years the letters and numbers have been made of cast steel, aluminum, brass and plastic. The alphabet is in a distinctly bold, asymmetrical style, while the numbers almost take on a calligraphic feel. There is just a basic character set - alphabet, numerals and simple punctuation. While the font has been reasonably spaced and kerned, it's best to remember that neither type design was made with digital technology in mind, so it's suggested to adjust your layout manually for optimum results. Nobody Home JNL is best-suited for replicating street addresses, apartment numbers on doors, and homeowner (or apartment house) names on buildings - whether in print design or as plotter-cut vinyl graphics.

Bestowens is the perfect handwritten font: Elegant, Sweet, innocent, light and charming, this one-of-a-kind typeface will add a unique charm to any design project! Bestowens was created to look as close to a natural handwritten script as possible by including 44 ligatures. With built in OpenType features, this script comes to life as if you are writing it yourself. You can see it in the pictures shown. A wide range of swashes (a-z) and alternates (A-Z, a-z) are included so that you can give your logo or name a custom, hand-calligraphy look. This font is available in 10 Styles in 1 typefaces: Thin, Light, Regular, Semi Bold, Bold, Thin Italic, Light Italic, Italic, Semi Bold Italic, Bold Italic and most importantly, Bestowens is perfect for you! don't wait anymore, put it in your shopping basket :) and follow me, because there will be many promos!

I created this font in 2016 with the name “Burtons”, and now here I am turning it into “Badhorse”. If you’re looking for the perfect touch of vintage flair for a design project, Badhorse is an exceptional choice. Pairing a rustic serif with a decorative handwritten script, Badhorse offers two distinct type designs that complement one another beautifully. This font duo is effective on product packaging, particularly for wares that prefer a handcrafted, artisan approach to their finished presentation. Badhorse is ideal for strong branding, identity, and logo design, as its letter forms effortlessly express a tone of familiarity, reliability, and timelessness. Advertising spreads and menu layouts will also take advantage of this modern classic, conjuring a sense of nostalgia and comfort in the viewer. Badhorse offers stylistic alternates and ligatures through OpenType, as well as symbols, punctuation, and international characters for additional language support.

Superb is a new typeface based on real brush pen script and also influenced by lettering shapes from the sixties and seventies. The font includes various swashes with volume and curls.. Superb’s letters got high contrast and some psychedelic curves. This font includes negative figures and a full alphabet set with cut out shapes. Take a look at the Superb Video https://vimeo.com/94062611 It’s designed with high contrast and enhanced legibility regardless its artistic look. Superb’s original letterforms are a beautiful piece of art and elegance no matter you observe them as separate symbols or as words, text paragraphs etc. Their appropriate use could be found therefore in many different aspects – from decorative greeting card, fresh packaging or expressive headline, to artistic t-shirt design, poster or distinguished brand name. Superb has a lot more to show when you access its OpenType features.

DUAL is a full width sans-serif typeface with an experimental side. Its straight lines and 90 degree angles give it a very geometric feel without hindering its legibility. It’s now available in 6 weights, ranging from 100 to 600. The idea behind DUAL has been brewing for quite some time, and though there has been many “experimental” released in the past, it does have its unique features. For starters, it is a fully usable and legible font in its original state. Also, its 251 alternate glyphs and 10 stylistic sets are, of course, its main attraction making DUAL a very versatile typeface for any user, from the casual designer to the hardcore artist. Finally, it has extensive additional language support for the Americas and parts of Europe. With its 563 glyphs, It’s actually two fonts in one, and thus the name DUAL. Enjoy!

Neuzeit Grotesk was originally designed by Wilhelm Pischner (1904-1989) and was released by the font foundry D. Stempel in 1928-1939. In 1970, the German Standards Committee advised the standard use of Neuzeit-Grotesk for official signage and traffic directional systems, and the abbreviation DIN was added to the name of the font. DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). Neuzeit Grotesk was also once the standard in the German printing industry. It has been seen as a straightforward and utilitarian typeface, with no unusual or distracting features. Like other typefaces from the 1920s, it reflects the philosophy of those times, "Form is Function." Today, however, because of its familiarity and practicality, Neuzeit™ Grotesk has acquired an almost cheerful and reassuring aura. Try it out for signage, magazine headlines, or flyers. See also Neuzeit S for text weights of Neuzeit Grotesk.

Dorica is a serif font family optimized for small sizes. It is very sober and simple, with a classic appearance at first sight but the curves and details like the serifs make it very different. The name is inspired by Doric, the simplest of the three orders of organizational systems of ancient Greece. The large x-height makes it perfect for use in magazines and every context which calls for text in small sizes. Dorica comprises 14 styles, from Thin to Black with their corresponding italics. Each font includes small caps, very useful for books, plus OpenType features such as proportional figures, stylistic alternates, tabular figures, numerators, superscript, denominators, scientific inferiors, subscript, ordinals, fractions and many ligatures. The extended character set supports Central, Eastern and Western European languages. The range of styles provides great flexibility for both text and titling, and the ligatures make for an original and creative appearance.

Introducing the Thole font, a very elegant and clean san serif family, with a characteristic width and graceful impression, for designs with feminine or masculine themes, this font will look strong and strong in your design projects. There is a strong impression in this font, both from the width of the letters, the corners in this font are also equipped with ligatures and alternates to complement your needs. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, clothing, logotypes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text. start using our fonts for your amazing projects.

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. Big flourish and elegant script! There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Fajowy is a hand drawn typeface. The family is available in 12 weights. Fajowy has only upper characters with up to three alternate glyphs. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character.

Create borders, wallpaper, or repeating patterns using Wallflower’s unique hand drawn wallpaper tiles and accompanying icons. Wallflowers are easy to use for borders or wallpaper: simply type the same letter consecutively (i.e., aaa) and the pattern will emerge. See what’s included! http://bit.ly/2bO0l3b

German type designer Matthias Jordan created this display FontFont in 2000. The family contains 4 weights and is ideally suited for music and nightlife, poster and billboards as well as software and gaming. It comes with proportional lining, tabular lining, and tabular oldstyle figures.

FG Typical is inspired by typewriting. But the letters got skewed in processing making it look a bit corny, but it looks great at small sizes as well as large. the characters all have the same height except for the i, å, ä etc.

Ring O Fire was inspired by a game I used to play where you suspend a coin over a glass with a paper napkin and take turns burning holes in the napkin with a cigarette until the coin drops. Is that weird or what?

Fajny is a hand drawn typeface. The family is available in 12 weights. Fajny has upper and lowercase characters with up to three alternate glyphs. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character.

British type designer James Closs created this display FontFont in 1994. The family contains 2 weights and is ideally suited for film and tv and poster and billboards. FF InnerCity provides advanced typographical support with features such as ligatures. It comes with proportional lining figures.

Just Shoes & Purses… from silly to sophisticated, a collection of 26 line drawings of shoes and purses and those same 26 with areas filled in. Lots of cute girlie stuff… if you need more check out Hat Doodles , Diva Doodles or Diva Doodles Too .

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. Rising Star on March 2007. There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. Alinea sans, with its neutral shapes, can be used everywhere. Like many recent sans serifs, its italic is a true italic and not a sloped roman.

Remington Typewriter, whose original designer is unknown, was one of the earliest Lanston Monotype designs. The italic was designed by Frederic Goudy in 1927. His approach was to make an unconventional typewriter form that looked well-spaced even though all letters shared the same width.

Nice typographic experiment consisting of the progressive "bodonization" I have summarized in two steps, by a letter drawn with the same concentration and intensity with which Paris Hilton reading a book, to get something like the sketches that Mr. Gianbattista used to Wrap the sandwich.

Trigomy is a proportional pixel font designed on a 5 pixel grid. It is intended for either very small text or as huge display font for posters and the like. To get a crisp look this font should be used at 10 pt or multiples of 10 pt. (A tip for Adobe Creative Suite applications is to change the standard anti-aliasing method from “sharp” to “crisp” and to align the text to whole pixels. Also avoid centered text.) To get started with type design I thought it was best to start with a pixel font because you don't have to focus much on the design itself, but rather have to focus on how kerning and spacing works and the various features you can implement with OpenType. And of course I wanted to have a pixel font that had all that I was missing from other pixel fonts. We were learning trigonometry at the time I started designing Trigomy, and most of the time I misspoke it “trigometry”. So, when I had to come up with a name for my first font I thought: "Why not go with Trigomy?"

The kiddy and rough cha­rac­ter and the huge capital height with the tiny x-height (plus the cute giraffe character dingbats), gives the type­face a high reco­gni­tion value and uniqueness. Application Area The warm, child-like, bold and striking handmade font “Giraf­fen­hals” would look good at logos, dis­play size for poster, flyer, comics and gra­phic novel let­te­ring, head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. Technical Specifications ■ Font Name: Giraffenhals ■ Font Weights: Regu­lar-Condensed + Bold-Condensed + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 443 gly­phs ■ Lan­guage Sup­port: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, auto­ma­tic con­text­ual alter­nates via Open­Type Fea­ture. Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (Ger­man Capi­tal Sharp S), extras like Ding­bats & Sym­bols, arrows, hearts, emojis/smileys, stars, fur­ther num­bers, lines & shapes ■ Design Date: 2011–2017 ■ Type Desi­gner: Manuel Vier­gutz ■ License: Desk­top license, Web license, App license, eBook license, Ser­ver license

Have you ever played with Lego™ and built letters? With Billund Side and Billund Top you can do it again and create colourful headlines on your Mac or PC. Billund is a font-system consisting of the two base-fonts Billund Side Outline and Billund Top Outline, extended by layer-fonts for one or five colours. Use the Outline-fonts alone to get »transparent« letters in one colour, use it with the Fill-fonts to fill the whole letter with one colour, or use the five Colour-fonts to get colourful letters in every colour you want. Billund contains cyrillic and greek glyphs and can be used for nearly a hundred languages. To expand the typographic possibilities, small caps, old style figures, numerals for small caps (c2sc), three stylistic sets, different symbols, forms, standard- and discretionary ligatures have been added, furthermore contextual alternates to avoid colliding letters. Each Billund-font contains 870 glyphs and more than 1600 kerning-pairs. Billund is named after the city of Billund (Denmark), where Lego™ was invented, the Lego™-headquarter still resides and the first Legoland™ theme park was opened in 1968 and still exists today.

Is your branding missing something wonderful that makes people going crazy impressed? Have you thought about how you can add that touch of something to your branding and projects? Want to transport your audience to a world of gorgeous, elegant, wonderful, versatile, yet modern? Then, we have the solution for you. Introducing Metrovia, An Elegant Font duo Giving you a simple, yet wonderful solution to your branding. This font is more than just another font duo. It encapsulates the essence of modernity and elegance. With elegance and passion edged into every curve and twist of this font – you’ll be sure to boost your sales and make the best impressions. Features: Beautiful Ligatures Stylistic Sets Multilingual Supports (69 languages) PUA Encoded Numerals and Punctuation Metrovia fits best for any design projects, such as posters, banners, logos, book covers, album covers, quotes, invitations, greeting cards, name cards, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you enjoy your experience in using our font. Feel free to contact us for further product information or trouble complaints. Thank you and happy designing.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Alfarooq is the most widely known epithet for the Islamic figure Umar ibn al-Khattab (c. 586 - 644) who was a leading companion and an adviser to the Islamic prophet Muhammad (peace be upon him) who later became the second Muslim Caliph after Muhammad’s death (pbuh) in 632. Muslims widely know Umar ibn Al-Khattab (may Allah be pleased with him) as Alfarooq (i.e., he who knows and distinguishes between truth and falsehood). Alfarooq is a unique, wide, and headline Arabic display typeface. The main trait of this typeface is the novel design of its letters' tails and its dots which renders it as one of the modern stylish typefaces used for headlines and titles. This can be noticed in different letters such as Ain, Ghain, Jeem, Khah, Seen, Sheen, and others. In addition, Alfarooq font has an Arabic character set which supports Arabic, Persian, Kurdish, and Urdu letters and numerals with a limited range of specific Arabic ligatures. This typeface comes in two ultra-bold styles (i.e., Alfarooq and Alfarooq-Pro) and more than 430 distinctive glyphs with a single weight for each style. Alfarooq typeface effectively offers diverse typographic and digital usages including mainly the very large and wide poster-size works. Due to its strong baseline-stroke, Alfarooq typeface is appropriate for heading and titling works in Arabic, Persian, Kurdish, and Urdu newspapers, magazines, and other printed materials. It is also elegantly suitable for signs, book covers, advertisement light boards, street and city names, products- and services names, and titles of flyers, pamphlets, and posters. The wide style of Alfarooq font’s characters gives it more distinction when it is used in greeting cards, covers, exhibitions' signboards, external or internal walls of malls, and also the exits and entrances of airports and halls.

When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable. But when Juliet was released by Nebiolo in 1955, it was a big surprise to both typesetters and calligraphers all over Europe. Novarese’s idea of working the standard copperplate script within the limited technology of the time proved to be a marvel in optical metal sizing (Juliet was available in sizes ranging from 12 to 60 pt), but also opened the door to new calligraphic possibilities. Easier readability and a very friendly color were obvious side effects of the reduced angle. So soon after its release, calligraphers worldwide began emulating the angle reduction and experimenting with the application of the same concept to other calligraphic genres. Today, more than 50 years later, many professional calligraphers point to Novarese’s Juliet as an opening to fresh ideas and new directions in 20th century elegant calligraphy. Ambassador Script, this digital version of Aldo Novarese’s surprising masterpiece, is the result of more than a thousand hours of work. Going above and beyond its duty as a revival, it was expanded by a great number of alternates, swashes, beginning and ending forms, as well as accompanying flourishes and snap-on strokes for even more ending forms. Ambassador Script also supports almost every known Latin-based language, which makes its name all the more fitting. Ambassador Script is available in all popular font formats. The True Type and Postscript Type 1 versions come in 12 fonts, available in different piecemeal configurations or a full volume. The OpenType version collects more than 2300 characters in a single feature-rich font that can sing mightily in OpenType-supporting applications. Ambassador Script is ideal for weddings, invitations, greeting cards, book and magazine covers, or anywhere a touch of calligraphic elegance is desired.

Soul Drifter is a handwritten font collection of 6 fonts that were designed to go together nicely. All six fonts were drawn using the same brush pen, so that their weight and design are consistent, and you can mix and match them easily. Soul Drifter includes: - a brush script font in regular and slant versions, with over 100 ligatures - a matching set of swashes to ornament your texts and designs - a cute sans font in two weights, regular and bold (true bold, drawn separately) - a tall serif font in all caps, with two sets of caps All you need for beautiful and easy designs with a hand-lettered feel, such as postcards and notes, creating logotypes, social media posts, branding and packaging, etc.

Introducing, Blink Twice, a unique sans with styled lowercase! Blink Twice is a modern and stylish font based sans that have unique looks. This font contains uppercase and lowercase that have different form. You can use the lowercase and uppercase in the same word that will make your text more stand out! And the best of this font is the italic version as the alternates which mean you can combine it all without worrying about the kerning! You can use this font for the magazine, poster, and suitable for headline. This font also support multi language. What you will get: All Caps Font with different uppercase and lowercase Italic version as the alternates (E H I N M e h i n m). Well Kerned.

Allay is a display font with a distinctive and appealing shape that may be used in a wide range of creative design projects. Each letter shape is created using a variety of combinations that provide a one-of-a-kind, innovative, entertaining, and unmistakably aesthetic impression when used. This typeface also comes with typical ligatures and can be used in other languages. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

Pixelate is a playful and futuristic techno typeface that channels a sense of excitement and digital innovation. Inspired by the pixel art of retro video games and the sleek lines of modern technology, Pixelate combines the best of both worlds. Each letter is crafted with precision, resembling digital pixels and evoking a sense of nostalgia while embracing contemporary design elements. The squared edges and geometric forms create a visually captivating display, making it a perfect choice for technology-related projects, gaming graphics, and futuristic branding. Pixelate injects a dose of fun and energy into any composition, capturing the spirit of the digital age and inviting viewers to embark on a thrilling visual journey.

Being a geometric sanserif ocr-t comes in eleven weights from ultrawhite to infrablack (brightwhite, white, silver, lightgrey, grey, darkgrey, anthracite, black, jetblack). With more than 600 glyphs it covers all your typographic needs and manages to stay at the same place no matter which width you’re using. Its readability and legibility is more than fine although it needs no kerning. The infrablack is really black, in order to achieve this, the form of letters change from darkgrey to anthracite from upright to some kind of upright italic. This also gives opportunity to mix two weights with same colour but different architecture. Find also stylistic sets, alternate letters, lots of bullets, different arrows, hands and well: kind of hearts.

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

Mark van Bronkhorst designed MVB Celestia Antiqua at a time when font choice was limited. Design was characterized by overuse of the few fonts that came with laser printers. A rustic typeface, recalling the roughness and irregularity of pre-digital printing, was a response to the cold crispness of DTP. MVB Celestia Antiqua holds its own among a large group of other “weathered” serif fonts, in part due to the size of the family: three weights, small caps, italics, and two titling styles. But it's also successful because it's simply drawn well, the contours only as rough as they need to be, enabling text at any size, large or small.

Challah is a display font containing 295 glyphs. Letters are very diverse, but because they contain several shapes characteristic for each other - they retain a certain coherence. When creating the font, the main inspiration was to take from the Brazilian graffiti trend - Pichação and Korean typography. Most of the letters are the same size and width, however, when designing, we also tried to include at certain moments small "surprises" that will surely interest and surprise the user of the above-mentioned typeface. The font fits very well into the urban structure, therefore it perfectly matches the art on the walls with the art on the billboards, creating a kind of dialogue.

Claretta is a Family Font full of modern styles. It comes with a completely new set of letters & glyphs, all filled with love. This font has 4 Styles: Normal, Bold, Italic & Outline. However, Claretta offers a futuristic design approach and sharp personality. Created & designed for Design purposes such as Titles, Logos, Games, Applications, Films, Posters, T-shirts, etc. Mac users can use the Letter Book, and Windows users can use Character Maps to view and copy additional characters to be included in your favorite text editor / application. I hope you enjoy this font. If you have questions, don't hesitate to give me a message :) CooldesignLab,