Fierce is a Futuristic Sport Font that special created for Sport and Technology design needs with Modern style. A New Sport font that we created special for Modern branding needs, with Futuristic style that ready to add value of your brand. Fierce Futuristic Sport Font ready with: Uppercase and Lowercase characters Numbers and Punctuations Preview as a inspirations that you can do with Fierce font Available for PC and Mac Wish you enjoy our font. :)

Introducing "Different Cultures," a font that effortlessly embodies the latest design trends. This modern serif display font transcends conventional styles, offering a perfect fusion of bold and thin strokes that create a visually stunning balance. Immerse your designs in the contemporary allure of "Different Cultures," where every curve and detail is meticulously crafted for maximum impact. Explore the font's diverse array of alternates and ligatures, providing you with a stylish toolkit to customize and enhance your typographic creations. "Different Cultures" is more than just a font; it's a visual journey that seamlessly blends modernity with timeless elegance. Elevate your projects with the unique and captivating aesthetics of "Different Cultures," setting a new standard for stylish and versatile modern serif display fonts in today's design landscape. Here's what you get: Regular & Italic All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

[Noah PDF Type Specimen] [Download 4 Free Fonts] Noah is more than just another geometric sans. With sharp details and a distinctive arrangement, it further extends the limits of the x-height, providing unparalleled flexibility. The specific structure is paired with normal width proportions, moderate contrast and vertical stress – making Noah well suited for a wide range of typographic purposes. This type family consists of 72 fonts divided into four subfamilies with different x-heights – ranging from Noah Grotesque at the bottom, through Noah and Noah Text, and extending to the highest one – Noah Head. The entire set includes styles from Thin to Black, with matching true italics and supports Extended Latin and Cyrillic scripts in more than 130 languages. The inclusion of terminals with a humanistic flavor and typographic letter alternates, such as the binocular “g” or the geometric “a”, offers a blend of the best aspects of both geometric and grotesque typeface classics. Noah features 4 weights that are available completely FREE. Features: • Over 650 glyphs in 72 styles (Thin to Black) • Extended Latin and Cyrillic scripts for more than 130 languages; • 4 different x-heights; • Normal width proportions; • Moderate contrast and vertical stress; • Geometric characteristics and terminals with humanistic flavor.

Take a deep dive into the Sybilla Multiverse with this unique 294 style multi-versatile type family – a further creative exploration of the capabilities offered by our original warm and friendly slab design. Encompassing one body and six display sub-families, Sybilla Multiverse is a unique attempt to create a never before seen symphony of text and decorative type that spans in multiple usable widths and weights. Each sub-style consists of seven weights in three widths with complimentary true italics. Sybilla Multiverse is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Every one of the styles offered (body or display) provides a broad range of advanced typographical features such as small caps, case-sensitive forms, fractions, scientific inferiors, super- and subscript characters. It comes with a complete figure range set of oldstyle and lining figures, each in tabular and proportional widths. Sybilla Multiverse has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic that works harmoniously with its Latin counterparts – a perfect choice for projects that need both writing systems running side by side.

Influenced by the ornamented capitals found in late nineteenth century specimens, this layered font was designed to decorate publication covers, labels, stationery or any other piece that needs to be embellished. This family intends to dress any work. Started up by the author’s hand, Dress is a professional work, accurate, well spaced, with ligatures and alternates for uppercases, initials, endings and figures. Each variable contains more than 1200 glyphs with plenty of OpenType features and extensive Western, Central and Eastern European language support. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. For further information about features and alternates, see the User Guide The main member of this family is the Base font which can be used alone or decorated with the layers: Shade One or Shade Two, Inline One or Inline Two and Outline. In this way, experienced designers will create their own combinations. On the other hand, there are multi-layered fonts that make Dress easier to use: Dress Combo One to Five. Additionally, Dress Deco adorns the beginning and the ending of the words, while the Ornaments decorates the whole design. The family package contains all this thirteen options. Dress matches very well with Limon Script Let’s Dress your work!

When reading text, the most informative parts of the written word for a human brain to identify, are the top and bottom edges of each word, and to a lesser degree, the leading and trailing edges. The overall shape has more useful info than the inner workings of each word. DT Enigmystic, is a display font family that gives you just that. The outer edge. At first glance, these letters don't look like standard letters, and yet, they are perfectly readable. And it is a 'somewhat' smart text, in that it will automatically complete the trailing edge of every word, whenever it sees a comma, period or space. Similarly, it will automatically complete the leading edge of every word following a space. When used as display test or as a heading, the first letter will need to be preceeded by a space, to achieve a full enclosed word outline. As with most of my fonts, do use Contextual Ligatures. This allows the letters to come alive. When generated here on this webpage, contextual ligatures are not turned on, and so the words do not appear completely closed at their beginnings and ends. But as can be seen in the poster images, these outlined words do automatically complete themselves when contextual ligatures are active.

Rossaline Handwritten is a lovely script font of which characteristics are the connections between letters to look like a naturally connected handwriting that leaves the impression of this font being organically, spontaneously written in order to add a firm personal touch. This font has various line thicknesses to show high letter contrasts to strengthen the font’s firm, clear impressions. Besides, the letters’ height variety, meaning that some of the letters are higher than the others, makes Rossaline Handwritten more interesting and dynamic. However, the connected letters can cause difficulty to read in small text sizes, so that you need to be more careful to use this font by adjusting it to your needs. In addition, you may enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rossaline Handwritten fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The Astronef Super borrows from the charm of retro-futuristic universes. Without concessions, and even radical, the Astronef Super, declined in three styles, pushes the weight limits as far as possible systematically while preserving a unique design. Using the Astronef Super in large size is a real pleasure, it is a very identifiable typeface family, recognizable immediately. Undeniably, choosing the Astronef Super in your designs is not insignificant. This typeface used in large sizes will strengthen your graphic identities. Background The Astronef Super could be considered as the “Spin-off” of the Astronef currently being designed, that will offer an important variation of styles. Of course the Astronef, is wiser in his drawing, it places himself in the tradition of the Univers more than the Helvetica. Genesis and the creative process The idea for an Astronef Super comes from an excerpt from a 60s TV show which shows a logo in the background with a very bold S and this super thin in the middle. The Astronef is already modular in its design. The brief then becomes simple for the Super: accentuate the strongest weights of the Astronef by minimizing the counterform that will remain constant for the three styles. It is the mass effect that maintains the overall cohesion of the Astronef Super family.

Talking about the numerous types that today bear the name of Giambattista Bodoni are a kind of tribute as much to his reputation as a printer as to his ability as designer and engraver. In fact, all of them tent to be more in the way or style of Bodoni than simply copy of his letterforms. Like many other type designers, we’ve been seduced also to develop our own point of view of his work, nowadays enriched by some features of OpenType format that allows a variety of combinations: standard ligatures, discretional ligatures, stylistic alternates and old styles figures. Whereas the Bodoni serif in the capitals was of the same weight as the thin stroke but joined with a very slight fillet (Bracket) and the lowercase serif were like his French rivals, the Didots, featured straight- edged serifs that were unbracketed. The ascenders and descenders of this new Bodoni are shorter, giving in this way, more space for enlarge x high. Specially designed for editorial design and advertising, can be used in magazines, annual reports and all kind of fine print materials or web pages. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning.

You can download Bodrum Soft PDF Type Specimen here . "Bodrum Soft" is a rounded sans serif type family, designed by Bülent Yüksel in 20018/19. The font, influenced by serif styles that were popular in the 1920s and 30s, is based on optically corrected geometric forms for a better readability. "Bodrum Soft" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances helps the legibility and gives "Bodrum Soft" an harmonious and sensible appearance for both texts and headlines. Bodrum Soft provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. “Bodrum Soft 14 Regular” forms the central point. "Bodrum Soft" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Medium, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures can be accessed with one simple touch in all graphic programs. Bodrum Soft is the perfect font for web use. I hope you enjoy using it!

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Distorted fonts are great but are mostly not very practical - 360 is an attempt to create a simple distorted font that can be used far beyond a few logos or headlines. Each 360 character averages roughly half the number of sharp angles of a regular sans serif. This gives it an unusually fresh and timeless appeal and creates a dynamic presence across body text that is very legible and compact without looking overly condensed. 360 was chosen as a name because it can be used as an everyday font, all year round, and because 360 has so many unusual angles that don't conform to normal font conventions. 360 also happens to be a cool number: 360 makes a highly composite number. 360 is also a superior highly composite number and a colossally abundant number. A circle is divided into 360 degrees for the purpose of angular measurement. 360° is also called round angle. 360 is a convenient standard since, 360 being highly composite, it allows a circle to be divided into equal segments with each segment measured in integer degrees rather than fractional degrees. 360 is the sum of a twin prime (179 + 181). A year is roughly calculated as 360 days.

Tokyo Style is a Modern sans serif display font that special created for Modern needs with unique style. A New Display font that we created special for Unique branding needs, with weird style that ready to add value of your brand. It's so nice to leverage designer or product owner that need solutions to make their design look more unique and urban. Tokyo Style Unique Sans Serif font ready with: All Uppercase characters Numbers and Punctuations Preview as a inspirations that you can do with Tokyo Style font Available for PC and Mac Wish you enjoy our font. :)

Heading is an Unique sans serif display font that special created for Modern needs with unique style. A New Display font that we created special for Unique branding needs, with weird style that ready to add value of your brand. It's so nice to leverage designer or product owner that need solutions to make their design look more unique and urban. Heading Display Sans Serif font ready with: Lowercase and Uppercase characters Numbers and Punctuations Ready with Regular and Italic Style Preview as a inspirations that you can do with Heading font Available for PC and Mac Wish you enjoy our font. :)

Jaguar is a Sports Futuristic Tech Font that special created for Sport and Technology design needs with Modern style. A New Sport font that we created special for Modern branding needs, with Futuristic style that ready to add value of your brand. It's so nice to leverage designer or product owner that need solutions to make their design look more unique and sporty. Jaguar Sports Futuristic Tech Font ready with: Uppercase and Lowercase characters Numbers and Punctuations Each Style (Regular and Outline) Preview as a inspirations that you can do with Jaguar font Available for PC and Mac Wish you enjoy our font. :)

Upcoming is an Unique sans serif display font that special created for Modern needs with unique style. A New Display font that we created special for Unique branding needs, with weird style that ready to add value of your brand. It's so nice to leverage designer or product owner that need solutions to make their design look more unique and urban. Upcoming Unique Display Sans Serif font ready with: Lowercase and Uppercase characters Numbers and Punctuations Ready with Regular and Italic Style Preview as a inspirations that you can do with Upcoming font Available for PC and Mac Wish you enjoy our font. :)

Presenting originally designed decorative font named Kaipara. The main goal of this font is a pattern that flows between the characters. Each letter has six variations that switches automatically to create a solid pattern feeling. Check out that "context alternates" OpenType feature is activated to achieve neccessery result. Also a simple supporting font is available here. Note: Please note that full pattern effect is working only with english alphabet and numbers. All other characters has only one variation. Note: Check out that all of your letters has the same case (lowercase or uppercase) to make the effect work properly.

Originally I wanted to call this font Chewy Caramel, because I love caramel. But that name was already taken, so I deleted two letters in the name and ended up with Chewy Camel instead. I know that the designer of Chewy Caramel don’t mind - because that is my good friend, David, who made that one! :) Chewy Camel was made with a slightly blurry and inky pen, and is suitable for most things that need a true organic hand lettered font. I have added 6 slightly different versions of each letter, and there is multilingual support as well

Many current poster artists like to reference the graphic type styles that were popular in the ’60s and ’70s. Zaftig is a contemporary font that takes the geometric and blocky inspiration from that era but then steps off in a modern direction. At first glance, it may appear that the capitals of Zaftig all take up the same amount of space, but certain letters have been designed proportionally for a better flow. Zaftig contains the basic character set and will work for most European languages. If you like your OpenType fonts with more features, Typeco also offers Pro version of Zaftig that includes Tiling Alternates, Stylistic Alternates, Small Caps, Small Cap Figures, and support for most languages that use Latin, Central European, Cyrillic, and Greek scripts.

The story of Humana begins with an exclusive volume about some manuscripts in Biblioteca Palatina in Parma, Italy. The title page uses the characters upon which I designed Humana. I suppose they were drawn for that volume. Examining the reproductions in the book I found that the characters on the title page immitate the lettering in a manuscript from the 15th century with Petrarca's Rime volgari". Not bad as origin! But I cannot free myself from the thought that there may be a typeface with that looks, not just a few characters drawn for that volume. My reference books could not give me any answer about that. The name Humana refers to the humanistic era from which the characters originate. Humana was released in 1994.

The Essential is a script font that combines minimalist and classical styling so that your design will look elegant when viewed. Hope you enjoy it!

Use it for all of your hand-lettering projects like invitations, greeting cards, promotional materials, websites, and branding that need that hand-brushed lettering vibe.

My goal was to make a design that might fit in anywhere,” says Jim Ford about his Quire Sans™ typeface. “I wanted it to be highly functional and sexy at the same time.” With one foot comfortably in the realm of oldstyle design and traditional book typography, and the other in evolving electronic media, the Quire Sans family does, indeed, fit in just about anywhere. As for sexy, someone once quotably wrote, “A great figure or physique is nice, but it's self-confidence that makes someone really sexy.” Yes, Quire Sans is sexy, performing confidently in virtually any setting. 2014-06-26 00:00:00.000 57.9900 F43063-S193385 42831 Neue Frutiger World Monotype https://www.myfonts.com/collections/neue-frutiger-world-font-monotype-imaging https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/279026_ed8c8093fe1ac59ebe9e3ee1d9262c8e.png Neue Frutiger World is designed for global use with an impressive range of 10 weights, from Ultra Light to Extra Black, with matching italics. It embodies the same warmth and clarity as Adrian Frutiger’s original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese. “Before Neue Frutiger World it was not an easy task for western brands to find families in Arabic, Hebrew, Thai and Vietnamese which match with their Latin,” says Monotype type director Akira Kobayashi, who led the Neue Frutiger World project. “They may find a type with closer expression, but there was no guarantee if the bold version in the non-Latin family matches the bold in their Latin. Neue Frutiger World offers a better solution.” In addition to Neue Frutiger World’s linguistic versatility, it works hard across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments. The Neue Frutiger World fonts can be paired with Monotype’s CJK fonts: M XiangHe Hei (Chinese), Tazugane Gothic (Japanese), Tazugane Info (Japanese), and Seol Sans (Korean). These were all designed to address brands’ needs to expand into Asian cultures and solve for global typographic challenges.

Hispania Script is a distinctive and distinctly nineteenth century script. It was released by Schelter & Giesecke of Leipzig, Germany around 1890. Particularly noteworthy are the sharply-pointed legs of the upper case ‘K’ & ‘R’ that seem to be characteristic of the period. Similar strokes, often with a slight curve, may be seen in typefaces like Alt-Romanish and Tinteretto by Schelter & Giesecke, Artistic and Lateinsch by Bauer and Berthold and the poster lettering of Edward Penfield. The angle of this script (approximately 24 degrees) and the sharp delicate points must have made the manufacture of this face in metal type a challenge. The resulting type was probably quite fragile and subject to accidental damage. Additionally, the sharp points would be subject to wear. With digital type, these concerns are eliminated. As far as I know, no one has ever dropped a digital letter on the floor. Nonetheless, creating a digital outline for a typeface like Hispania Script, with many crossing strokes, can be quite time-consuming. Even with an accurate scan of a good quality original, it is usually necessary to construct each crossing stroke separately and then remove the overlap in order to obtain a sharp and convincing intersection. Steep internal angles are often defined with two points, rather than one, to minimize ink or toner fill that can muddy the rendering in smaller sizes. Like all formal scripts, Hispania Script is always useful for announcements and invitations. However, the distinctiveness of of this design strongly suggests that there are other applications that may benefit from its use. Step outside the box and try it in some unexpected places. It is the unexpected that often draws a person’s eye.

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014

Introducing Dirtstorm—the ultimate street stencil typeface that is sure to make your message stand out from the rest. With its raw, hand-cut edges and tattered texture, this font exudes an undeniable edge that will leave an impression on anyone who sees it. Featuring unique OpenType ligatures, Dirtstorm creates bespoke character sequences that add an extra layer of realism to your design. Whether you’re creating posters, flyers, or social media graphics, this typeface is the perfect way to convey your message with a distinct, grungy tone. Dirtstorm is not your typical, cookie-cutter font. It’s a rebellious, handcrafted typeface that embraces the imperfections and roughness of street art. So if you’re looking for a font that speaks volumes and demands attention, look no further than Dirtstorm. 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.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

The ten font Turbinado™ Set was designed to be clear and easy to read with a friendly personality, ideal for advertising and packaging in both text and display settings. Included are three weights of brushed casual script, each with a dry version, two condensed all caps faces, another hand printed caps face and an Elements package with 100 brushed elements that include swashes, botanicals, shells, arrows, repeatable patterns and a few other doodads that play well with the fonts. Like our most recent release Fave, all of the fonts use the OpenType standard ligature feature to automatically differentiate consecutive lowercase letters and numbers, using separate glyphs rather than a single ligature so they can be set on a curve or colored separately, etc. They also automatically differentiate like characters that are separated by another letter when standard ligatures is enabled. The script fonts have alternate characters like swash glyphs for ends of words and a few ligatures too; single crossbar to unite the At and Att letter combinations etc. The two condensed faces also have a third set of less uniform glyphs that can be used to create a more quirky, fun and bouncy effect (see the ‘she sells seashells’ graphic above) when the discretionary ligature feature is on. The script fonts have 10+ lowercase t (and double t) crossbar alternates that can be selected from the OpenType glyph table manually, or you can enable the contextual alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. Hello? Are you still there? :) And for those intrepid typographers who would rather fashion their own lowercase t to custom fit a specific design, all of the lowercase t ascenders and crossbars are also available separately in the glyph table, and can be combined manually.

Shueitai is a typeface that has been undergoing development for more than a century, starting from the days when Dai Nippon Printing Co., Ltd. (DNP) was still known as Shueisha. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress. Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called "Shueitai" a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today. The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times. Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word. Currently, Shueitai is composed of 17 kinds of fonts useful for various purposes. The world has witnessed vast changes in the environment surrounding the printed world, with the tran-sition first from letterpress to Desktop Publishing, and most recently to e-books. But no matter how this environment might evolve, the written word remains the basis of communication, and the importance of beautiful and readable typefaces stays unchanged. In preparation for the changes that will inevitably come during the future, DNP will continue to evolve the Shueitai designs from now on. Through its continual reinvention, Shueitai, a typeface consistently adopted at the vanguard of the industry, perhaps represents Japanese innovation at its very best.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Freesia™ UPC Regular is a Thai font designed by Unity Progress and offered under license from Microsoft. The Freesia UPC Regular Font includes the Thai code page 874 and Latin 1 character sets. You should be familiar with the use of Thai fonts and multilingual fonts before purchasing Freesia UPC.

Cordia™ New Bold is a Thai font designed by Unity Progress and offered under license from Microsoft. The Cordia New Bold Font includes the Thai code page 874 and Latin 1 character sets. You should be familiar with the use of Thai fonts and multilingual fonts before purchasing Cordia New.

Iris™ UPC Regular is a Thai font designed by Unity Progress and offered under license from Microsoft. The Iris UPC Regular Font includes the Thai code page 874 and Latin 1 character sets. You should be familiar with the use of Thai fonts and multilingual fonts before purchasing Iris UPC.

Angsana™ New Regular is a Thai font designed by Unity Progress and offered under license from Microsoft. The Angsana New Regular Font includes the Thai code page 874 and Latin 1 character sets. You should be familiar with the use of Thai fonts and multilingual fonts before purchasing Angsana New.

Larome font is a serif font that possesses a truly unique style. This font is combined with lowercase characters that feature graceful curves, resulting in a distinctive and captivating style. Larome font is well-suited for display purposes and for branding products that exude an elegant, unique, and antique ambiance.

Savoire is a hand lettered serif that have a handmade vibes. You can use this font for any project especially for design that require handmade and organic feels. This font also comes with Regular and Bold that you can use both to highlight the point. This font already support multi language.

Browallia™ New Regular is a Thai font designed by Unity Progress and offered under license from Microsoft. The Browallia New Regular Font includes the Thai code page 874 and Latin 1 character sets. You should be familiar with the use of Thai fonts and multilingual fonts before purchasing Browallia New.

Jasmine™ UPC Regular is a Thai font designed by Unity Progress and offered under license from Microsoft. The Jasmine UPC Regular Font includes the Thai code page 874 and Latin 1 character sets. You should be familiar with the use of Thai fonts and multilingual fonts before purchasing Jasmine UPC.

Dillenia™ UPC Regular is a Thai font designed by Unity Progress and offered under license from Microsoft. The Dillenia UPC Regular Font includes the Thai code page 874 and Latin 1 character sets. You should be familiar with the use of Thai fonts and multilingual fonts before purchasing Dillenia UPC.

Introducing Metavoria Font, a playful and quirky display typeface with a hand-drawn style. This font comes with so many ligatures and alternates, that you can use that for more fun on your projects. Metavoria font is ideal for branding projects or packaging that need a quirky and playful feel.