SK Skrynka™ is a strict monospaced geometric accidental typeface. He absorbed both industrialism and simplicity, and futurism along with modernism. It is imbued with the spirit of the distant future and refers to the culture of cyberpunk. With its features, it resembles a computer's electrical circuit and fits perfectly into a futuristic design. SK Skrynka font supports many languages: extended Latin (Western European, Eastern European and Central European, etc.), extended Cyrillic (Russian, Ukrainian, Belarusian, Serbian, etc.), Greek and even Hebrew. This allows you to use it in absolutely any direction and style of design. Also, this font has many stylistic alternatives that bring variety to the monospaced typeface, further expanding its expressive capabilities. The SK Skrynka typeface will look great in headlines, or in stylized text and will become a functional addition to design work or game design.

As with any attempt at a new typeface, you want to create something different. A difficult task as most legible fonts are based on something previous. Somatype isn't actually based on any particular font but it has unavoidable similarities to others. The important difference here being the distinctive quirk of the connection points going opposite to the norm; exemplified best by the lower case d & e. Once devised, the unique characteristic was applied wherever possible, keeping the rest of the characters in a sympathetic, rounded style. I first designed this in the light weight version, seeing it working best as a large open display font for magazines etc. but realized it would be too light for body copy at small scale, so, medium and bold weights were created to resolve that issue. Incidentally, the word ‘somatype’ literally means body-type.

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

Roadline is a professional display font collection of Streamline style for lettering, a style of lettering that was much in vogue from the 30 to the 60. Roadline aligns all your characters on a horizontal baseline and allows headlines or logos into three wide variables. Besides its connectors allow you to create variations ranging from elegant classics to radicals or creative situations, adapting to all target tones of voice message, it brings Roadline a series of pre-programmed parts in Opentype links for easy use and enable very creative and unexpected combinations. For its decorative character this typeface is very useful for headlines and logo creation. Relive the golden years of the brands with Roadline.

The design of the Jeunesse font family derives from a study of primers which the designer undertook earlier in his career. Jeunesse was designed with the intention of combining excellent legibility and character recognition with the ability to create compact, distinctive words and lines while maintaining basic flourishless letterforms. The sans serif style is pre-dominant in this design, but serifs or rather parts have been added where necessary, mostly at the top left hand parts of the characters, to aid readability. Use Jeunesse as a text and display face. There are also fully sans serif and slab serif versions available which can be used on their own or mixed with each other and the parent fonts.

The design of the Jeunesse font family derives from a study of primers which the designer undertook earlier in his career. Jeunesse was designed with the intention of combining excellent legibility and character recognition with the ability to create compact, distinctive words and lines while maintaining basic flourishless letterforms. The sans serif style is pre-dominant in this design, but serifs or rather parts have been added where necessary, mostly at the top left hand parts of the characters, to aid readability. Use Jeunesse as a text and display face. There are also fully sans serif and slab serif versions available which can be used on their own or mixed with each other and the parent fonts.

A unique design accurately revived by Steve Matteson in 2021. Frederic Goudy designed Companion Old Style for Women’s Home Companion in 1928. In his own words: “I believe the new letter I showed him, both in roman and italic, is one of the most distinctive types I have ever made. It incorporates features which deliberately violate tradition as to stress and curves, but which are so handled that attention is not specifically drawn to the innovations introduced.” Companion Old Style exudes the style of pre-World War 2 Americana. The unique characteristics are wonderful for greeting cards, wedding announcements and holiday invitations. Companion’s nostalgic letterforms are light hearted and quirky yet highly readable.

The Modesto Text Family is text in name only. It’s called Text because it has a Lower Case, and also to distinguish it from the rest of the Modesto clan. Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Baily Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

The design of the Jeunesse font family derives from a study of primers which the designer undertook earlier in his career. Jeunesse was designed with the intention of combining excellent legibility and character recognition with the ability to create compact, distinctive words and lines while maintaining basic flourishless letterforms. The sans serif style is pre-dominant in this design, but serifs or rather parts have been added where necessary, mostly at the top left hand parts of the characters, to aid readability. Use Jeunesse as a text and display face. There are also fully sans serif and slab serif versions available which can be used on their own or mixed with each other and the parent fonts.

All handmade – the versatile Sofa Serif Family. Sofa Serif’s handcrafted character is friendly and eye-catching. Stylish features and alternates add personality and let you create unique logos and stunning headlines. The family boasts 5 weights from Monoline to Fat, each containing more than 1000 glyphs, plenty of OpenType features and full ISO latin 1 & 2 language support. In addition, extra shadow-, 3D-, inline- and hatched-styles round out the package. 7 font-styles are especially created to be used as layers/layered styles. Sofa Serif has a sister: view Sofa Sans here. · High contrast is one of Sofa Serif’s key features. To maintain a wide range of use, choose from two optical sizes: Standard and Display with a maximum of contrast especially in the heavier weights. This makes it a flexible solution for any display and editorial need. · Sofa Serif includes a variety of OpenType alternates which add uniqueness to your work. OpenType features include Swashes- and Titling-Alternates, Beginnings and Endings and a number of alternates within various Stylistic-Sets for even more variation. OpenType Swashes- and Titling-Alternates are smart features which automatically adjust all swashy letters to the available white space. Switch one on and let Sofa Serif do the rest. · Please download the Sofa Serif Font Guide for all details. · Sofa Serif is an organic, rough and decorative hand-drawn/handmade all-caps display-family for packaging, posters, book-covers, wedding-, kids-, food- and logo-design and will best stand out in huge grades. Its handmade origin is subtle yet visible. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Sofa Serif / 203 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Nothern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Introducing Sun Type, a delightful and versatile serif logo font that exudes creativity and charm. With over 150 ligature glyphs and alternate characters, this font offers a wide range of design possibilities, allowing you to craft unique and visually stunning logos and brand identities. Sun Type goes above and beyond with its extensive collection of 52 swashes, offering you the opportunity to add elegant and decorative elements to your text. These swashes effortlessly elevate your designs, giving them a touch of sophistication and individuality. Not only does Sun Type excel in its aesthetic appeal, but it also showcases its practicality by supporting a staggering 87 languages. No matter where your audience is located or what language they speak, you can confidently communicate your message with this font. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu LigaturesAB,AC,AD,AF,AG,AI,AK,AL,AM,AN,AP,AR,AT,AU,AV,AW,AY,BA,BE,BI,BL,BO,BU,CA,CC,CE,CH,CI,CK,CL,CO, CR,CT,CU,DA,DD,DE,DI,DO,DS,DY,EA,EC,ED,EE,EF,EG,EI,EL,EM,EN,EP,ER,ES,ET,EV,EW,EX,EY,FA,FE,FF,FI, FO,FR,GA,GE,GH,GO,GS,HA,HE,HI,HO,HT,IK,IL,IM,IN,IT,IH,KE,KI,KN,KO,LA,LE,LF,LI,LK,LL,LO,LT,LY,MA,ME, MM,MO,MP,MS,MU,NC,ND,NE,NG,NK,NL,NN,NO,NS,NT,OA,OB,OC,OD,OF,OG,OI,OK,OL,OM,ON,OO,OP, OR,OS,OT,OU,OV,OW,PE,RA,RE,RF,RK,RM,RN,RO,RR,RS,SA,SC,SE,SH,SK,SS,ST,TC,TE,TH,TI,TL,TO,ST,TT,TU, TW,TY,UC,UE,UL,UM,UN,UR,US,UT,VA,VE,VO,WA,WE,WH,WN,WO,YE,YO,YS,MEN,FRO,RON,ROM,THE, AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,TER,WAS,YOU,ITH,VER,ALL,THI,OUL,GHT,AVE,HAV,HIN,ATI, EVE,HING,WERE,FROM,THAT,THER,HAVE,THIS,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Grappa, a traditional Italian spirit with a rich history, shares much in common with typefaces - both embody cultural heritage, craftsmanship, and a sensory experience. Grappa is distilled from the skins, pulp, seeds, and stems left over from winemaking, resulting in a strong and aromatic drink that varies in flavor based on the grape and distillation process. Similarly, typefaces are designed characters that convey a unique style, weight, and form, communicating messages and expressing ideas through text. We are thrilled to introduce Grappa, a stunning new font based on the classic "Invitation" typeface by Morris Fuller Benton, a renowned American designer. Grappa features nine weights and a variable font that offers greater customization, with unique triangle serifs that give it a distinct edge. The font also comes with a variety of alternates and swash characters, including a second version with modified alternate characters for even more design flexibility. Like Grappa, typefaces evoke emotions and cultural associations, often associated with specific historical periods, artistic movements, and contexts. Whether used in stationery, packaging, editorial design, or branding, Grappa is a versatile and timeless font that can add elegance and sophistication to any project. In conclusion, Grappa is an excellent addition to any designer's toolkit, offering a perfect blend of tradition and modernity. The font's distinctive personality and cultural connotations make it a beloved drink in Italy, and a font that can effectively communicate messages and ideas through text.

Pekin is an unusual design with an oriental flavor. It was originally designed by Ernst Lauschke and released by The Great Western Type Foundry of Chicago as “Dormer,” which is similar to the French verb ‘to sleep,’ not exactly a marketing triumph. Barnhart Bros. And Spindler (independently-operated subsidiary of ATF since 1911) bought Great Western in 1918. According to McGrew, AMERICAN METAL TYPEFACES of the TWENTIETH CENTURY, BB&S renamed the typeface prior printing their 1925 specimen book — guess they wanted something just a tad more exciting. Quirky, distinctive and fun. Pekin ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 415 glyphs (compared to 218 glyphs in the original release). 2. 652 Kerning Pairs. Note: Ag, Aj and gj will cross unless kerned. Alternative A may also be used. 3. Added OpenType GSUB layout features: onum, salt, liga, dlig, hist, ornm and kern. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Refined various glyph outlines, based on improved scans. 6. Added set of Tabular Numbers at cap height, based on original design; added Old-Style Numbers based on default design. 7. Added a bunch of alternative characters: 18 upper case letters, 10 lower case letters, 1 ampersand and 1 bullet. The alternate c is actually the original design, but I don't like it - easily confused with e. Alt E H M h m n r t are from the original design. I added the rest. 8. 7 Ligatures, 4 Ornaments, 18 Geometric Shapes, 6 Arrows and 12 Misc. Symbols. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Prelo was designed to be a neutral, highly readable typeface for identity, editorial and information design. With nine weights and nine true italics from Hairline to Black, Prelo is a workhorse typeface full of OpenType features such as small caps, tabular figures, central European characters and historical figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility even in very poor conditions, and the neutrality allows this typeface to be used with any serif companion.

Introducing The fashionable Jophie Modern round font display. I try to make the family font as much as possible The round and diagonal versions are great for applications that are more friendly and fun and as the name suggests. You can uniquely stack various parts of this font making it very fun to use together :) The Jophie includes 3 regular, italic, outline, clean and modern fonts, thus creating more variability. The Jophie sans that cannot be blamed for diversifying your headlines, visual identity branding, posters, logos, magazines, etc. What's Included The Jophie Regular The Jophie Italic The Jophie Outline Thank for looking, and I hope you enjoy it.

Flexo is a geometric sans typeface, with humanistic warmth. It is a synthesis of the geometric and the humanistic. It has both mathematical straightforwardness, and humanistic refinement. Flexo has a squarish design, making it stand out in many uses. It will shine in both headlines and text. It is well suited for graphic design and corporate identity design. Flexo has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. Free demo font available. Flexo in use: 1 2 3 4 5 6 7 8 9 10 11 12 13. For more information about Flexo, download the PDF Specimen Manual.

I really like the moments when classic meets modern. Mathieu was inspired, by the proportions, texture and elegance of Renaissance typefaces, and by the works of Dutch typographers, in whom I have always appreciated the balance between the traditional approach and experiment. Mathieu has the features of a sans-serif typeface, but you can feel delicate notes of calligraphy through humanistic details. The whole family has several width options complemented by a slightly slanted but expressive italics – making it suitable for both longer texts and for use in visual identities. Karol Mularczyk and Małgorzata Bartosik worked on the project creatively directed by Mateusz Machalski.

Obvia, a geohumanist type for all media. Obvia appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes - to be published soon - expanding its usability. The idea behind Obvia’s design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a ‘geohumanist’ tone to the font. This first family of Obvia has 9 weights ranging from Thin to Black with their respective italics, delivering a strong typographic identity, from the paper to the pixel.

Didonesque Ghost is a family of 10 fashionable fonts that will enhance any project that requires a touch of class. These fonts turn the contrast right up to 11 – giving each weight a ghost-like appearance by means of their hairline stems and serifs. This extreme contrast gives Didonesque Ghost a very stylish appearance which is intended for use in display purposes at very large sizes – posters, signage, branding, corporate identities, headlines, advertising, wedding invitations and the like. See more detailed examples here . Key features: • 5 Weights in Roman and Italic • Small Caps, Petite Caps, Contextual Alternates, Ligatures and Discretionary Ligatures • European Character Set – Latin Only • 750 glyphs per font.

Colin is a fresh, somewhat futuristic geometric sans serif type with a large x-height that, to me, communicates both seriousness and cheerfulness. It supports 70 languages incl. monotonic Greek and comes in 7 weights with a small number of alternate glyphs (ss01) for more flexibility. It features fractions, old style and tabular figures. Colin works great in titles, displays and short paragraphs. And where does it come from? To be honest, the reason for this font is a selfish one. I wanted a typeface where my initials (n and c) look identical, just rotated by 90 degrees. That didn’t completely work but, hey, it’s pretty close.

This a big family called Industria Sans made of 36 cuts. Industria is modular, geometric, with ink traps and a lot of opentype features. We wanted to create a modular sans serif family with a good legibility. If you are working on branding and designing project for large scale identity then this font family is perfect for you. You can a give a bold and strong look to your design projects with Industria Sans. With its strong vertical appearance and soft rounded corners, ink traps Industria Sans is very versatile. Perfect for posters, logos, headlines, branding, blogs and more. With 446 Glyphs More About Opentype Features: https://bit.ly/opentype-rsz

Designed in 2012 by Olivier Gourvat, this font family is inspired by the euskaran (basque language) font. Redesigned with modernism, this new font respects the traditional euskara language with lowercase addition. These nuances give Kara a traditional appearance for both text and headlines, but can be used for many more applications such as titles, decoration, posters, cartoons... Kara Text & Display support a wide range of languages, with more than 500 glyphs and OpenType features like case-sensitive forms, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures. With its 2 fonts, Kara is an ideal font family for text, brand identity, signage, print and web design.

New Millennium Sans is one of three font families that share a common name, a common design philosophy, a common x-height, and basic character shapes. (The others are New Millennium and New Millennium Linear; all three work well together.) New Millennium Sans is a "humanist sans" in the Optima vein -- but without certain quirks (e.g., the "waisted" strokes) of the latter. It has proportional lining numerals whose height comes midway between the lower- and uppercases. (The bold styles are identical to those of New Millennium.) New Millennium Sans might be used in books, periodicals, or any large text blocks where a legible sans is desired.

TT Slabs Condensed update 1.110 What’s new. • Case Sensitive Forms • Tabular Figures • Fractions • Numerators • Denominators • Superiors • Scientific Inferiors TT Slabs Condensed it is a condensed version of our TT Slabs font family. This new version is designed for strong headlines and design presentations. Very well suited for designers who create Identity and logos, as well as for interior design and navigation. The special features of the typefaces include the classic formula: Thin, Light, Regular, Bold & Black. Scope: food packaging, packaging of household appliances, newspapers, magazines, headers, signs, theatrical scenery, logos, interior design, decoration of shops. Optimized for the websites, mobile applications, and printing materials.

The Cannon family is the result of combining the clean aesthetics from a classic sans neo-grotesque with a touch of a geometric design. The result is a simple but dynamic typeface with retro and technological airs. Cannon is ideal for robust advertising, bold brand identities and packaging, also suitable for high impact headlines and short texts. This type family consists of 36 variants and 9 weights (thin, extra light, light, regular, book, medium, bold, extra bold, black), matching italics for all weights and widths, matching small caps for all weights and widths, alternate characters and extended language support. We are proud to introduce: Cannon.

Introducing Duskey Font Family + Extras. Duskey includes 4 Fonts styles. It can be used to create almost all types of design projects and printing materials. Just use your imagination and some graphic design sets in Extras and your project will become more alive and will look greater than ever with one of the Duskey Font. You want to make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, wedding font, pop vintage design, retro design or any purpose to make your art / design project look pretty and trendy? Feel free to play with all style of this font!

Ala Kazam is a new take on Calligraphic fonts. It has all the drama and pen-like quality of the calligraphy genre, but presents as a casual, quirky, magical font. Ala Kazam evokes many moods - it's fun, it's sophisticated, it's fashionable, it's contemporary romance. It's perfect for a host of uses - branding, packaging, kids stuff, fashion, wedding stationery, greeting cards. Vigorous and readable, Ala Kazam has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Ala Kazam makes use of OpenType features to avoid the mechanical look caused by two identical characters side by side.

Dabu is a hand paint inspired high contrast decorative display typeface. With unique five ornamental layers which makes Dabu very presentable and eye catchy. Dabu has identical styles that very well goes with logo design, headline, creative sign boards, poster design, social media, fashion brand, beauty product branding, large print and screen. How to use Dabu ? - Select Dabu-Regular. - Copy the same one more time. - Select and choose any one Dabu Depth, Dabu Heart, Dabu Flower, Dabu Diamond, Dabu Square. - Select both and Aline. - Bingo!! :) No animals harmed in the making of this typeface Dabu is supportive to Adobe illustrator, Adobe Photoshop, Adobe In-design and All Adobe.

SOUTUMI Features: 6 Ampersand options per weight Extended Latin characters 2 Pi symbols Capital and lowercase 'sharp S' Loathing the time it took me to complete the family for my personal freelance identity, Multipolar (& the first font I ever authored myself), I vowed to take the challenge of working within considerable record time. Soutumi was conceived of this challenge; it's vain purpose as such is more meaningful than the forms or any other semiotics that make up itself. Whereas Multipolar took me 9 months to complete, Soutumi was finished within the span of 3, and also sports three times more ampersand alternatives (as that theme was a running joke in Multipolar).

Reservation Wide is intended for headlines with its relatively snug letterspacing and extended forms. Its simplicity will accommodate smaller sizes and lower resolution displays. OpenType Stylistic Alternates for characters 'a', 'g' and 't' lend an even simpler finish. The hand-drawn curves and angled stroke endings temper the otherwise rigid proportions of the family. This painterly tendency becomes more apparent in the heavier weights keeping them from looking too imposing. The design first took shape as a custom font named Majestos for the cable channel The Food Network . It can be found in their growing online and printed presence in addition to their broadcast identity for which it was developed.

Maslen is a modern and classy signature font designed with a artsy touch. Perfect use for classy visual brand identities, watermark on photography, signature or signature logo design, quotes, logos, headlines, titles, labels, websites, stationery, business cards, or any advertising purposes. Maslen includes: Uppercase and lowercase Numbers and punctuation Multilingual Alternates Ligatures We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so you can see and access all Glyph variations. We hope you enjoy our font - please do let us know by emailing us at info@prestigetype.com or prestigetypestudio@gmail.com if you need something!

HeyPumkin is a letterbat font designed for use in the late autumn, when the leaves are falling and the harvest is underway. October 31 is an especially good time to use it. The upper- and lower-case letters are almost identical. If you want a version of this face without the pumpkins, try Ingone. Buried in the font is another set of letters on pumpkins. They are on unicode characters in the 2400 block, circled digits and letters. These characters can also be accessed using the OpenType stylistic sets feature. (The alternative characters are further developed in a separate typeface, part of the InsideLetters family.)

Hey, friends! I’m here for you with my new colored font Maxly. All the letters in this font are colored brightly and vividly with colors overlay. You can use it in your corporate identity, in magazines, posters, clothes design, and others. --- *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only.* *Please note that the Canva & Corel doesn't support color fonts!* --- What's included? * Colored and regular B&W styles * Numbers * Symbols * Multilanguage support If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman.

URW Form by Volker Schnebel is the quintessence of a modern sans. Originally inspired by the timeless classic Futura, URW Form is a mix of classic and modern geometric typefaces, yet still incorporates the fundamental rules of design and looks and functions like a contemporary sans. In addition to its strong identity, URW Form has all the quality characteristics we come to expect from a Schnebel typeface. Available in 80 styles and four widths, there is also a much sought-after semi-condensed extension to broaden its creative spectrum. Weights range from the filigree Thin to the forceful Poster, making it a truly versatile sans serif typeface.

Agnostic is a linear font in minimalistic style, uppercase is decorated with geometric elements. The typeface includes Regular and Symbol versions. Letters and symbols are perfectly combined with each other. The font is easy to use in various design programs or without any program, it is perfectly combined with linear scripts and with sans fonts. Agnostic Typeface font is suitable for lettering posters, music albums, tattoos and photo overlays in hipster style. The font is also suitable for event design and city identity. Agnostic font works great both for printing clothes and craft products branding and packaging. Also use individual letters and symbols to create logos and monograms.

Cayuse is a super-slab, all-caps titling face that tips its hat to the classic French and Italian “fat face” serifs of the nineteenth century. Structurally, Cayuse utilizes a reverse-stress stroke configuration—with thick, meaty slab serifs and sinuous, spiked connecting strokes. This crackling contrast gives Cayuse a very black, dense texture, and the ability to combine and contrast well with other typefaces. Arm yourself with Cayuse to create richly-textured, high-impact typography for packaging, editorial, brand identity, posters, signage, and many other applications. What's more, Cayuse also features an array of “word logos”, providing you even more options for creating dynamic typography.

Finnish type designer Julia Sysmäläinen created this script FontFont inspired by Franz Kafka’s manuscripts in 2008. The family contains several styles and is ideally suited for unique visual identities, festive occasions, music and nightlife as well as software and gaming. FF Mister K provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript character, and stylistic alternates. This FontFont is a member of the FF Mister K super family, which also includes FF Mister K Dingbats , FF Mister K Informal , and FF Mister K Splendid . Find more information on FF Mister K’s very own Website ffmisterk.com .