Evans was named after Walker Evans, an american photojournalist whose photographs often featured unassuming subjects – ordinary people, roadside scenes, and the subtle details of the American landscape. His ability to find beauty in simplicity and appreciate the mundane inspired Cosimo Lorenzo Pancini and Andrea Tartarelli to create this typographic family that aims to convey the ideals of journalistic storytelling: simplicity, clarity, and unpretentious honesty. Looking for a soothing, relaxed visual flow in body text, Evans was designed by gently narrowing classical proportions to answer the designers' need of maximizing the arrangement of lengthy text within confined spaces. Combining the vintage appeal of a semi-condensed old-style structure with a very slight transitional slanted axis resulted in text-oriented typeface with visual charm on both printed and digital pages. Subtly reducing the size of majuscules allowed the effect of an increased x-height, balancing space saving with increased readability at same point size. Using soft, semi-calligraphic shapes and keeping a generous letter spacing, the designers embraced a minimalist approach, aiming at a smooth reading experience. For maximum versatility, Evans provides two distinct variations tailored to different purposes: the Regular and the Narrow subfamilies. While both are fine-tuned for body text applications , the second is suited also for display-oriented contexts, where attention-grabbing headlines take center stage. Each subfamily is developed in a range of 8 weights from Extralight to Heavy, and includes over 700 glyphs with full coverage of language using extened latin glyphs. True italics are designed for all weights, providing additional typographic control through the design of Swash Alternates, available through Open Type features that also include Standard and Discretionary Ligatures, Positional Numerals, Case Sensitive Forms and Stylistic Alternates. The family is complemented also by a rich set of Ornaments, available both as special glyphs or in a separate font. With its retro-inspired design and unwavering commitment to form and function, Evans effortlessly extends its versatility from editorial design to digital interfaces and logo creation, inviting users to appreciate the beauty in simplicity, find joy in the ordinary, and embrace a relaxed and unhurried mindset.

This font is based on real prints made out of a linocut. The glyphs were handprinted, then scanned and then turned into a computer font.

An experimental font designed by Viktor Kharyk in Op Art style. UniOpt is based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to ‘Graficheskaya Azbuka’ (‘Graphic ABC’) by Peter Miturich and works by Victor Vasareli. The face is legible even at small sizes and quite useful to an original display matter, initials and logos. The rigid double-wide structure allows to create complicated decorative works using vertical composition. Interesting that diacritical marks are also placed inside of character square fields and don’t destroy geometrical order. The decorative abilities of the font are increased by inverted versions of characters that may be used in different combinations including in color. The character set contains expanded Latin, Greek and Cyrillic ranges. UniOpt was awarded for type design excellence at TypeArt’05 Contest in Moscow. Licensed by ParaType in 2006.

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Shàngó is CastleType’s beautifully-rendered interpretation of Professor F.H.E. Schneidler's elegant titling typeface released in 1936 with the name 'Schneidler-Mediaeval mit Initialen'. This latter design is usually referred to as Schneidler Initials. Although early on Medium and Bold weights were added to the somewhat delicate design of Shàngó, it seemed there were other possibilities that might be useful for display use. So, for the last couple of years I have been working on and off on a monoline version of Shàngó. This new design maintains the classic letterforms of the original, but its relatively even strokes gives it a more solid appearance, making it useful where a more modern, masculine look is needed. This new family is called Shango Gothic and is available in four weights: Regular, Medium, Bold, and Extra Bold. Shàngó Gothic is a member of the extended Shàngó family (Classic, Chiseled, Sans, Gothic).

A typeface for telling stories. After seven years through which Rodrigo Saiani worked on Dupincel, Plau’s team still had months of dedication until found a good way of summing up this typeface. All this effort was rewarded, though, when we came up with a motif that gave Dupincel the grandiosity it deserves. Telling stories is this typeface’s gift because it has the emotion for it, resources for it and the breadth for it. Like all that wasn’t enough, it has the scale for it: optical sizes Small, Medium and Large make Dupincel optimized for stories of every length. From short stories displayed big or long stories on small letters. We don’t want to dictate the types of stories either, anything goes. But if ornaments make a good fit with that story, we will be even more thrilled. In the end, Dupincel makes us want to find new stories to tell.

Milton Glaser’s Kitchen Typeface from the mid 1970s exemplifies the bold 3-D art deco revival genre that was a trademark of the Glaser style. This typeface resulted from his involvement in the design of the The Big Kitchen in the World Trade Center’s concourse in New York City. The new P22 Glaser Kitchen takes on the technical challenge of overlapping 3-D shadows by offering two styles. P22 Glaser Kitchen Regular is spaced out so that the shadows do not overlap the white spaces of the neighboring letters. Whereas the P22 Glaser Kitchen 3D Fill and 3D Shadow can be used layered on top of one another to achieve the tight spacing intended by Glaser. P22 Glaser Kitchen was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Felfel is an Arabic typeface inspired by the rich history of the Arabic Ruq’ah, one of the most widely used Arabic calligraphy styles, but with a modern pinch influenced by the visual identity of Egyptian streets. Born from the fundamental need in the Arabic design scene, Felfel is made to celebrate the elegance and timeliness of Arabic calligraphy while solving the problem of the cascading nature of Ruq’ah that results in increased line spacing. Felfel is space-friendly, perfect for headlines and quotes. Felfel supports major Arabic-script-based languages and covers Arabic, Hindu, and Farsi numbers. Like Traditional Ruq'a, Felfel works with the same context, but it adjusts to your needs without the rigidity of Ruqa’ah’s slanted baseline to give you the flow, beauty, and richness of the Arabic calligraphy with a modern feel. Felfel is dynamic. A substantial part of the font is based on versatile components, that minimizes characters and maximizes possibilities. the dots are in motion! They rotate from and to horizontal and vertical form, based on the word to match the calligraphy and the context, also the dots and marks move up and down, left and right to prevent all kinds of overlapping.

In spite of its angular appearance, Origami is composed almost exclusively of curves. Designer Carl Crossgrove derived the typeface from experiments in designing a low resolution type. The resulting face is reminiscent of Eastern European expressionist designers such as Oldrich Menhart and Vojtech Preissig. It is paired with an equally angular chancery italic. Origami works effectively for short blocks of text or at display sizes, while the capitals are especially suitable for titles.

Laureen pro typeface Laureen pro is an Arabic typeface that has a very particular appearance. It combines the characteristics of different genres; most notably the contrast of serif faces. While its design is influenced by Kufic and the Naskh style. Laureen pro consists of two typefaces, text and display, and 4-weights. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc.

ITC Eastwood is the work of British designer Martin Archer and is named for Clint Eastwood. Archer was looking for a plain oldstyle typeface with open lower case forms and used Stempel Garamond as his starting point, although the result ended up well beyond its origins. In small point sizes the typeface looks interestingly rough while at display sizes it looks like a 16th century French typeface and its unique details come forward.

Black Crow is a display sans-serif type family includes eight weights. It is influenced by the geometric-style sans-serif faces that were popular during the 1920s and 30s. The styles are based on geometric forms that have been optically corrected for better legibility. Black Crow has a functional look with a hard touch. It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps.

In its original form Coma was designed for use alongside Japanese typography. The uniform shape of Coma's letterforms allow it to be set horizontally or vertically with equal ease. With a striking profile, modular form and contemporary character, Coma can be used in myriad configurations. The name Coma refers to the perplexity of contemporary existence, to be assaulted by an endless stream of news and stimuli, and to feel paralysed and exhausted by it all.

TextTile is a system of heavy sans titling faces which can be utilized to carry a repeating chromatic pattern across words and letters. It stands apart from other chromatic faces, where layered effects typically interact only within each letter and do not carry through from one letter to another. The pattern repetition across letters of varying widths is achieved through OpenType substitution, using conditional alternates for each successive letter to allow for a seamless appearance across words, regardless of letter combinations. Though the pattern exists on a strict grid and the letters' widths and spacing must be highly regular in order to preserve the pattern repeat, the letterforms themselves are not rigid; rather, they appear organic, lively. The initial release includes patterns inspired by a classic buffalo plaid, separated into its horizontal and vertical components to maximize the creative possibilities for layering one-, two-, three-, and even four-color plaid patterns. Kits are available to produce the plaid pattern in detail—with overlapping diagonal hatching fully visible—or as a simplified version in which transparency can be used to simulate plaid or to create a checkered or striped effect. The TextTile family of fonts is a flexible canvas for mixing and matching a broad array of patterns to create a unique look. Check back for more pattern releases and take a look at the online specimen to see what is possible with the current offerings. Usage Notes For best results use an OpenType aware program. Enabling Contextual Alternates will ensure pattern alignment. For patterns that are made up of vertical stripes or columns using the Stylistic Alternate/Stylistic Set 1 will shift the columns. Stylistic Set 2 will change 1-0 into blocks of patterns.

Fantasy draws on a series of historical calligraphic traditions: Roman capitals, Lombardic initials, enlightenment era ornamentation and refinement. The user is invited to deploy their imagination playing with the alternates, ornaments and frames in different universes like publications and stationery. Fantasy Pro is the fully-featured OpenType version with two styles of capitals and plenty of swash alternates and ornaments. Each of these varieties is available as a separate font in addition to Fantasy Std, a set of unadorned standard characters for smaller settings. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Give a touch of magic to your work!

Obcecada Sans & Serif are two geometric digital typefaces in regular and bold versions, very condensed and thin with a rounded finish on the horns and joints with a modern style. They include the Cyrillic and Greek alphabet. These fonts are the result of my obstinacy for very condensed fonts, in this case I have inclined to a very fine proportion with short ascending and descending that gives them elegance decó.

DEZARU is a fictitious Japanese display font created by combining Japanese letters with well-known and understood san serif fonts from throughout the world. Imagine all promotional materials can be understood and understood by all audiences in various parts of the world, your message will reach the hearts of the audience, and your brand will be very easy to remember by many people because the display of this font is contemporary and different from the others. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Queulat is a hybrid typeface that combines two different styles, reflecting charm, freshness and, especially, a strong personality. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the regular with the alt version. The regular version is more simple than the alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’. Queulat also comes with a Unicase version, in which a higher number of shapes can be found, resulting in a unique colourful display.

Welcome fashionistas, we have designed a type family based on fashion and current trends. Trendy, the new font of our studio follows the same design line that represents us, processes with brush lettering, variety of characters, OpenType programming and a special touch that reflects a boho chic style. The soul of Trendy is inspired in the logotype of one of the most influential type foundries around the world. Because of its great contribution in graphic design we have decided to pay tribute by expressing our gratitude for being an icon in the design world, the most recognized type designers of the last years have been part of that type foundry and for being source of inspiration for new designers. Trendy represents a fashion house, a place that breathes fashion, there are inside 5 determining variables for designing time: Regular, Bold, Black, Display & Stencil. Discover this new way to see the glamour world all include in a type family. To know more about our new project, Trendy, visit our web site www.estudiocalderon.co and our portafolio in Behance.

Maris is a rich, elegant script, subtly characterized by a whimsical handwritten calligraphy. The family is composed of six different weights, each one bolder than the last but all equally as filling. The lighter weights move delicately through each line, showing a gentle strength in their smaller frame. The six weights from these lighter forms to the bold include some textured versions such as jean, wood, print, rough and halftones. The Maris family performs superbly in custom headlines and logotypes. Turn on Swash, Stylistic or Contextual Alternates for even greater emphasis. Opentype lets you "auto-magically" swap out letter sets with alternate versions and creates the visual diversity that gives you the one-of-a-kind look of custom lettering. It also uses OpenType features to assist with letter flow. When you choose to make use of its open-type decorative glyphs, your headlines will dazzle. For the greatest benefit, grab the entire Maris family. Thanks to its variety of styles, Maris makes it easier for you to design. With this large font family, solve your design problem with just one typeface.

Sovereign Display is a decorative all caps headline face in one style with small caps on the lower case positions. Thin horizontal crossrules underpinned by a heavier solid shadow give the typeface a prominent three dimensional appearance and an air of formal distinction. Ornate and iconic, Sovereign Display is perfect for certificates, manuscripts, titling or anything requiring a more sombre, elaborate or engraved slab serif style.

Magdalene is a classically designed sans-serif face for the 21st century. It's designed to offer clear and immediately legible lettering for signage and poster use which still has a touch of character and elegance about it. Magdalene is also ideal for the display of web pages and legible text on small LCD panels. Use Magdalene to combine traditional design attributes with modern technology.

There is not much I can tell about Isolde. It is a plain typeface, rather wide and with dominant serifs. Its italics are more slanted than usual. In fact only Caslon's italic can compete about that. Its width makes it more suitable for decorations than for larger amounts of text. The name comes from the medieval tale about Tristan and Isolde. Isolde was released in 1993.

PiS Creatinin pro is based on a vintage ABC learning game for kids found in my grandparents attic. The narrow and high hand-drawn letters combine delicacy and chunkyness in a wonderful way, so it can be used both in huge display sizes and in small text sizes. PiS Creatinin pro - Makes you want to go back to school and learn the alphabet all over again!

Veneribe -the Venerable face- is an experiment in what many today might call 'grunge', though we at Greater Albion would probably prefer to talk of rustic (or if we're feeling really old-fashioned rustick) charm. It's a derivative of our Clementhorpe family, and aims to combine a battered antique look with the charm of that decorative Roman family. Regular and oblique forms are offered.

Inspired by the iconic Fenoglio-Lafleur Liberty building in the city of Turin, in an area with significant Stile Liberty buildings and New Gothic architecture. Lafleur is a decorative face with a remarkable art nouveau flair from 19th century. Perfect for creative contemporary uses in print and on screen. We recommend it for book covers, packaging, branding, editorial, web, advertising, apparel, purposes are endless.

It's here! Lumbering down the grassy slope towards us, the lovable round sans serif of KNICKNACK. It's warm, it's smooth, it's round and it's fuzzy. It's perfect for display use, print, posters, branding, packaging or kids friendly apps and web! KNICKNACK is a typeface that will put a smile on your face. It features 2 styles, regular and fuzzy and comes in at least 5 weights.

A collaboration based on lettering by Vermont illustrator/artist Mary Trafton and brought to typographic life by Charles Gibbons, the Full Moon Suite is a collection of casual typefaces called after folk names for full moons. A winner of the TDC2 2003 Type Design Competition. Family members include: Falling Leaves, Rustling Branches, Black Cherry, Black Cherry Alternate, Black Cherry Ligatures and Black Cherry Doubles.

Flex Rounded display typeface was designed in 2000 by Vladimir Pavlikov as alternative 'soft' variant to the original Flox face. In contrast to Flox there are rounded stroke ends and curved shapes in most of Flex characters. The project was aimed to create a decorative vivid alphabet of geometric shapes. Cyrillic was developed in 2005. For use in advertising and display typography. Licensed by ParaType in 2005.

Havelock Titling builds upon the essential geometry of Havelock , adding new weights for spacious, authoritative text. Made to combine with Havelock’s display capabilities for more traditional reading scenarios. Built on the same weight range as Rocinante Titling , which broadens your design options. Light matches Light, Bold matches Bold, and so on. Both Havelock and Havelock Titling collections are included in Havelock Complete for a lower price.

Welcome to the world of Saqtah! A display font with a superhero style that will bring strength and courage to your projects. Whether you’re working on a film, game, or design with a strong and bold theme, Saqtah is the perfect solution for you. With a stunning appearance, Saqtah will be the main highlight in every design. Each letter is filled with strength and thickness, creating a powerful and impressive look. However, the advantages of Saqtah do not stop there. This font is also equipped with special features. Alternate ligatures and characters allow you to create unique and creative typographical combinations, providing endless possibilities for the expression of your designs. Apart from that, Saqtah also supports multiple languages, so that your message can be well received by audiences from various countries. Make Saqtah your choice and give your project a hero touch. With the strength and boldness that this font has, you can create a bold and unforgettable look, captivating the heart and eye of every viewer. With its special features, Saqtah provides unlimited flexibility and creativity. Let’s be creative and bring an awesome impression with Saqtah in your project. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

French Art Deco lettering found within the pages of the 1934 publication L'Art du Tracé Rationnel de la Lettre (roughly translated to “The Rational Path Art of the Letter”) have provided a number of designs well-suited for digital revival. A hand lettered sans with varying character widths was the basis for Colmar JNL, which is available in both regular and oblique versions. As the source of the lettering design was a French publication, the typeface is named for the city of Colmar, which (according to Wikipedia) is the third-largest commune of the Alsace region in north-eastern France.

Liliana is a geometrical typeface, born throughout comprehensive formal studies while testing new ways of displaying certain words and sentences. The essential structure of Liliana is very conservative: It can look similar to other geometrical typographies, however, it has unique features that make this project very special. Liliana is a typeface that will work perfectly while setting short texts, words, and phrases as well. It shall perform greatly even when the paragraph is too short. Thanks to the versatility of its alternate characters, Liliana is perfect to achieve eye-catching texts. The spirit of this typography is focused on its “s” character, which originates from manuscript writings and provides a very special identity. If the text does not contain the letter "s", the intended personality can still be achieved by using alternate characters such as "f", "l", “r” and “L”, which are aligned with the same concept. On top of that, may all this still not be enough, you can furthermore use its ligatures and swashes. It is actually hard not to set a spectacular text with Liliana! Liliana is a typeface optimal for being used in marketing assets, packaging design, magazines, branding, film captions, headlines, editorial, quotes, logos, corporate identity, and motion graphics. The italic version has a 10-degree slant. This feature is intended to convey a gorgeous feeling of tension, power, and agility. It’s very interesting to realize how the dynamism in the italic characters works when compared with the regular ones. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 642 characters with ligatures, alternates, and swashes. It supports 219 Latin-based languages, spanning through 212 different countries. Liliana supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Kalexa, a name inspired by the fusion of kaleidoscope and hexagon, is a modern typeface created from geometric lines based on the hexagon's shape. It draws inspiration from low poly and heavy industrial typefaces, reflecting modernity, simplicity, and power. With its sleek and minimalist design, Kalexa emerges as a disruptive force. Thanks to its 6 font weights, it is highly versatile, making it suitable for a myriad of projects across various themes, ranging from sports designs and industrial brands to technology projects. It adheres to the trend of bold and unconventional shapes while maintaining excellent readability. Available in a variable version for precise control over font weights, Kalexa unlocks endless possibilities for designers to craft captivating visual experiences. Each line becomes a brush of creativity, walking the line to new frontiers of design expression.

Ckornoments is a two-font family of corner ornaments that was inspired by decorative grave ornaments. Similar ornaments can be found on old furniture and woodwork. Almost all ornaments come in sets of four for placement top right and left and bottom right and left. The two fonts, solid and outline, are designed to be used in layers but can be used separately. In addition, ornaments that include flowers have one part of the design separated out so the original and separated characters can be layered to give bi-colored images (or tri-colored with an outline). These ornaments are suitable for posters, newsletters, personal notes, and on other types of documents that benefit from framing. In addition to serving as corners, the ornaments can also be used as dividers between sections of text.

Based on the popular Girltalk font, cute, cheeky Girlscript, was specially designed for the young-teen market. I felt that it was time for Girltalk to have a "big sister" script font to complete the group. Pretty & feminine, with a large dose of cheek, Girlscript is great for: -- “girl style” stationery -- diary covers -- clothing hang-tags -- party invitations -- greeting cards -- book covers -- movie posters -- CD covers -- game advertising media Girlscript is perfect for hen parties, baby showers, pamper parties and other occasions that bring out the “girl in” women. Think sugar 'n spice, think cute 'n cheeky, add a dash of Girlscript and you're on a winning streak! Girlscript is fully professional, carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

My family and I are stuck in quarantine for a week; my eldest son tested positive for Covid19 (but everyone else tested negative), so we can’t go out. That means that the kids follow classes online. I noticed their notebooks and suddenly realised that a notebook used to be called a ‘cahier’, which is a French word meaning the exact same thing. I guess it sounded sophisticated at the time. Mon Petit Cahier (meaning: My Little Notebook) is a handmade script font. It is not meant to be awe-inspiring, nor do you want to use it for headlines or posters. It is a nice little font that feels at home wherever an unobtrusive script is needed. Comes with all the diacritics you want and a set of cool double letter ligatures.

Now check this, Underware’s blockbuster type, Bello. Bello Pro is a brush typeface for headline point sizes - it’s big & beautiful. Bello has lots of ligatures and start and ending swashes. They are automatic in Bello Script Pro, which is a cross-platform OpenType font with many OpenType features. Bello has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). After a period of hand sketching and lettering, Bello got two main styles: Script and Caps. These two fonts create a strong typographic contrast - while Bello Script Pro is flourished and flowing, Bello Caps Pro provides upright and sturdy capital lettering. As sturdy as brush lettering allows, of course. Careful spacing and kerning ensures* that Bello appears like fluently written handwriting. However, that’s not enough for a hand-lettered feel. Therefore Bello comes with a set of 64 ligatures. Some of them are typographic, some made simply to create a more intimate, natural impression. For the same reasons we have added a few ornaments and a set of snap-on beginning and ending swashes which attach to the lowercase letters of Bello. With Bello Words Pro you can add some two-color words in your text by the pre-designed word logotypes. Trust the brush! *So take care: use ‘metrics’, not ‘optical’ as a spacing setting in layout apps.

Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy, which has been dealing with for centuries with fixed space grids. The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush with the sharp technicality of typewriter and system fonts, Bakemono can both excel at text size in its regular widths optimized for legibility as well as owning the page at display size with its uncommon design details. Bakemono reflects its multicultural nature with its extended latin + cyrillic charset, soon to be expanded with Bakemono Arabic (exploring the fascinating world of monospaced arabic script) and Bakemono Kana (our first experiment in cjk scripts). • Suggested uses: born to allow you to change the weight of a word without losing the text alignment, Bakemono can both excel at text size in its regular widths optimised for legibility as well as owning the page at display size with its uncommon design details. Perfect for contemporary branding, web design, packaging and countless other projects; • 21 styles: 7 weights x 3 different styles + 1 variable font; • 839 glyphs in each weight; • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Ordinals, Scientific Inferiors, 7 Stylistic Sets, Subscript, Superscript, Slashed Zero • 217 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük