This bitmap font is made of 97 icons to use to express this time of the year... You will find christmas tree, Santa, cake, stars, gobelin, and a lot more. They work well for background tiling, just as symbols, or for anything else. We hope you like them ! Best size in bitmap is 20pt.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

Kuniku is an unconventional sans serif font that sticks to the rules. These can easily fit into a very large set of projects, so add them to your creative ideas and see how they make them stand out. Each character is uniquely crafted and would be amazing to complement any project you're working on. Use it to create beautiful titles, beautiful invitations, stunning logos and more!! Perfect for displays, headers, invitations, save the date, weddings and more! This font is PUA encoded which means you can access all the glyphs and sweeps easily!

New York to London via Europe The hardworking FS Koopman is a crossbred workhorse which draws inspiration from Swiss and Germanic grotesks, American gothics and early British grotesques, but refuses to fit neatly into any of these categories. Its neither one nor the other, but all of the above. Fontsmith designers Andy Lethbridge and Stuart de Rozario decided to take the characteristics they admired from each category and distill them down into one functional family. Neo meets Neue FS Koopman aims to swim against the tide of Helvetica-ish derivatives by bringing some personality and soul to a genre that all too often ends up feeling bland and sterile. FS Koopman subtly embraces the quirkiness and charm often seen in early twentieth century designs but pairs this with the functionality of later pioneers of the genre. It’s a grotesque isn’t it? The term grotesque surfaced around the early 1800s and refers to the early sans serif designs that many initially believed were strange or ‘grotesque’ due to their lack of elegant serifs. Later variations became known as neo-grotesques and this moniker stuck around even after they gained mass popularity. Some American variants became known as gothics. FS Koopman takes cues from all three categories and blends them into one cohesive design.

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

From tablet to table – from freehand to font – Average Handwriting was designed originally in freehand on paper then onto a tablet with the help of an appropriate app to give it a ‘wet brush’ feel – this was transferred to paper then tweaked PS and only then imported into a font design programme – this is how we work to keep the original flourishes and a freehand feel to the font. Thus, a well-ordered handwriting with both elements of freehand and precision. It looks especially good in lower-case text situations, delivering an original look - there again you may be looking for a new display font for some large graphic projects such as posters, Average Handwriting also works well in these situations, again, delivering an original look.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Fashion is a trend, Style lives within a person *Oscar de la Rerta. I believe everybody's special. You have your own original character in every single appearance. And i feel so addicted to bring that something special in you to be shown to the universe. And that's what it cames from. Introducing, Steady Bonanza. A versatile hand lettering script typeface to dig up your authentic style. Made from the authenticity of brush and ink character, and delivers with so many style so you can always show up fresh in every use of it. Undoubtedly fit for your fashion branding, logo, posters, promotions kit, social media post, brochure, quote, lookbook, and a possibility to expand more such as wedding stuff, food and beverage, girly things, hand crafted stuff, you got the full control on it, dont stop yourself!

Brava Sans (the naked & extended version of Brava Slab ) is a family of 8 weights, 2 widths and true italics. Designed for editorial purpose, it has a monolinear appearance with a humanist construction, open counters and a tall “x height” that give it a right personality for use in branding. Also Brava Sans has a lot of helpful features as a wide range cover of Latin languages, a lot of OpenType features, a new condensed width and two bolder and cooler weights that make Brava Sans a useful tool for the graphic designer. A full range of numerals (included old style figures, lining, numerators, denominators, superiors, subs, circled and black circled), small caps, forty ligatures (between standard & discretionary ligatures), a lowercase superior and inferior set and a stylistic set are some of the features that makes Brava Sans a solid choice.

Lamaesa is a versatile and original design sans serif typeface. Designed to be used primarily on medium and large point sizes. Designed so you do not get tired of reading it, but at the same time, so that you notice its particularity. Oriented for use in headlines and continuous text, with a solid appearance, but with a slight aroma of handwriting, which gives it an ambivalent and original character. It is perfect for magazines, company letters, websites, advertisements, restaurant menus, and any support and function where it is essential to attract attention in an elegant and non-abusive way. Basic Latin characters. It consists of 217 glyphs (ISO 8859-15): uppercase, lowercase, numbers, currency symbols, and special characters. It consists of six fonts: light, normal and bold as well as their oblique equivalents. Carlos Maeso González is the designer of the typeface “Lamaesa”.

Kosnat Trunks is a striking sans-serif display font that seamlessly blends retro aesthetics with a touch of modern design. With its wavy ligatures and a whopping 920 meticulously crafted glyphs, this font is a typographic masterpiece that will elevate your design projects to new heights. Key Features: Retro Charm: Kosnat Trunks exudes a delightful retro charm that harks back to the styles of the past, making it perfect for vintage-inspired designs. Wavy Ligatures: The unique wavy ligatures add a playful and dynamic element to the font, making your text visually captivating and memorable. Vast Glyph Library: With an extensive collection of 920 glyphs, Kosnat Trunks offers you unparalleled versatility in your design work. This includes uppercase and lowercase characters, punctuation, symbols, and special characters. PUA Unicode: Kosnat Trunks supports the Private Use Area (PUA) Unicode, ensuring compatibility across various platforms and applications. This feature allows you to access alternate characters and glyphs effortlessly. Multilingual Support: Whether your project requires Latin-based characters or extends to various international languages, Kosnat Trunks has you covered with its comprehensive multilingual support. Ideal Usage: Vintage Branding: Create eye-catching logos and branding materials for retro-inspired businesses and products. Poster Art: Craft attention-grabbing posters and promotional materials that demand attention. Editorial Design: Elevate your magazine layouts, book covers, and editorial spreads with this unique font. Packaging: Design packaging that stands out on the shelf and tells a compelling story. Web Design: Use Kosnat Trunks to add a touch of nostalgia and personality to your website headers and titles. Kosnat Trunks is not just a font; it's a design tool that empowers you to infuse your projects with a sense of nostalgia and style. Elevate your typography game with this versatile and captivating typeface.

Hey folks! Glad to introduce you a new MINORICA handwritten collection to imitate a hand lettering style! A complete font kit with graphics give you a fantastic result. A roughen pencil written letters with the same rustic shapes and decorate doodle elements looks very authentically! Play with styles, use the stroke style with inlines, or just a regular. You'll get: Bouncing baseline spooky serif with all caps letters, stroke style and inline decoration Handwritten textured and roughen brush script Bold playful sans with inline and stroke styles. Decoration font with text shapes and doodle elements decoration. A helpful kit to create a funny stuff as greeting cards, t-shirts, advertisement content, cafe or coffee shop decoration, book covers etc. Thank you and Enjoy! VVDS

Rumi is a script font with organic and natural feel, designed to look as true handwriting. It has a calligraphic touch and shaky, unpredictable execution, being very clear and readable at the same time. In order to achieve realistic look, Rumi features 4 variations of lowercase characters, figures and punctuation. The font mixes randomly all four versions after activating OpenType “calt” feature. Many ligatures help to create even more unrepeatable settings. Rumi has an extended character set of more than 900 glyphs containing alternate styles, standard and discretionary ligatures, symbols, ordinals and case-sensitive forms. It suppors Central, Eastern as well as Western European languages. Rumi is great for all kinds of projects that need strong, personal feeling and natural, organic look.

Big Fish is a low contrast Script and Slanted Casuals with bold characters. Big Fish has three weights of Script and a set of Extras that can be used as themselves or combined with script charters for custom swashes. Big Fish is packed with OpenType features: Keep on Contextual Alternates and Standard Ligatures for better flow and try Swashes to spice up your words. Big Fish Casuals is a sturdy casual lettering font with same stroke shapes as the script. Casuals works great with the script but is also a strong font by itself. All Big Fish fonts have wide language support and cover even Cyrillic alphabets. Big Fish is a tremendous pack for any display use from branding to packaging and online to print.

Isle Body is a high-quality serif typeface family, drawn by Måns Grebäck during 2018 and 2019. It is a sweet font with a casual and calm look, with generous spacing and an even weight, adapted for body texts and small sized type settings. It comes in four weights, each one as italic, totaling in eight styles: Light and Light Italic, Medium and Medium Italic, Bold and Bold Italic, Black and Black Italic. The font family can be used in a combination with a font of a different style, or together with its sister font Isle Headline, also a serif font, which has the same basic structure but more distinct weights and a sharper look. Each style contains ligatures and support for a wide range of languages.

Courteous is absolute elegance. It's semi-condensed serif font with straight and consistent shape in every letter that will give a taste of professional feels to any design. Adding ligature will make it more stylish and modish, very suitable for fashion or beauty projects. Courteous also have the bold version that will looks more gentle. FEATURES: Regular and Bold Version Uppercase and Lowercase are the same 35 Ligature that only works with lowercase, so you can access regular letter by using only uppercase. Ligature: od ai ad ap ed eb ab ib ob ud id ub ou rt yl al le an lu ur gn ha ri ce ho ry ev in ro um ox ve as on Numbers, symbols, and punctuation Multi language support

Isle Headline is a high-quality serif typeface family, drawn by Måns Grebäck during 2018 and 2019. It is a sharp font with a clear and attentive look, adapted for headlines, titles and large type settings. It comes in four weights, each one as italic, totaling in eight styles: Light and Light Italic, Medium and Medium Italic, Bold and Bold Italic, Black and Black Italic. The font family can be used in a combination with a font of a different style, or together with its sister font Isle Body, also a serif font, which has the same basic structure but with a softer look and adapted for body text and smaller type. Each style contains ligatures and support for a wide range of languages.

The Fredrick Ullmer Co. in London acted as agent for many typefoundries, and this was one of their offerings. Some of the letters were rather outlandish, so we fearlessly decided to improve them. The result is this dated but pleasant font. The original didn't have a lowercase, so we added it.

This font clearly illustrates Jan Tschichold’s dictum that the New Typography would employ “the simplest form” and “the minimum means.” Based on his typeface Transito, the letterforms are as fresh and vibrant today as they were when introduced in 1931. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Lindemann Sans is an immediately-inviting typeface with a pleasing distinct visual voice grounded by geometry and golden proportions. This modern geometric san serif typeface serves the interpretive needs of modern design through its legibility. This legibility is achieved through proportional balance of each letter based on the golden ratio, open counters, high x-height and wider individual shapes. In addition, a high level of legibility is arrived through distinctive glyphs like a, e, @, and f, which are engaging and add to Lindemann Sans visual voice. Being a modern, spirited, tech-savvy typeface, Lindemann Sans has many of the features demanded by today's designers. These features include 800 characters within each font, many ligatures, full numbers sets, small caps, alternative characters and other niceties found in opentype fonts. Due to Lindemann Sans high legibility, geometric sans tradition, and a large feature set list, it is a very versatile typeface and can be used in replacement of the more commonly used sans. Specifically, Lindemann Sans can be used by technology corporations, architectural firms in their supporting materials, in magazines as headers and key-points, as the typeface for professional keynotes, for the package design industry as a whole, in automotive concept projects, and for cosmetic branding for high class hair products. With its inviting nature it may also be used for liberal arts promotional materials. In addition, this typeface can be used by green industries because of its nature derived proportions. Each style and weight of Lindemann Sans adheres to the same geometric and golden proportions, however, each weight is innately noteworthy. For example, there is a charm that is found in the ultralight weight's elegant geometry and lights impressive use as oversized headlines. It shines with true clarity of vision with the book weight and the versatility of the medium. One cannot overlook the power and pacing of the bold and extra bold weights with its clear counters and restrained letter forms. Within Lindemann Sans family each weight has a distinctive role to play but stays true to its purpose.

Traseraha – A Retro Cartoon Font Traseraha, a captivating retro cartoon font, effortlessly channels the whimsical charm of classic animated aesthetics. Designed by the creative minds at Traseraha Studios, this font pays homage to the golden era of cartoons with its playful curves and vibrant personality. Each letter exudes a nostalgic vibe, reminiscent of vintage comic strips and animated shows, making it an ideal choice for projects seeking a touch of retro flair. The Traseraha font seamlessly blends fun and readability, allowing it to shine in a variety of applications, from logo designs to creative headlines. With its unique character and timeless appeal, Traseraha captures the essence of a bygone era while injecting a dose of lighthearted energy into contemporary design projects. Traseraha is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. cartoon font, cute font, traseraha font, retro, vintage, 90s, 80s, 70s, cartoon, cartoon font, comic, comic font, delicious, display, display font, distressed, hand drawn, handwritten font, headline, holiday font, lettering, mexican, mexico, mexico font, packaging, playful, poster, retro, sticker, vintage font Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

GarciaToons is a dingbats type family integrated by 3 styles: GarciaToons Bunny, GarciaToons Cat, and GarciaToons Mouse. GarciaToons can be defined as a type cartoon to read some text situations at a glance. It is a contemporary type tool for seasoning texts in a way that simple words are insufficient to express. GarciaToons is about funny and fresh real-life communication needs, the ones we facing anytime anywhere in our daily writing issues. Aim: To design an easy-to-understand and user-friendly symbol type code, able to combine with –or even to replace– words in a text. Idea: To develop a comic's faces dingbats series starting from the same pattern for the whole variants. The challenge was to represent different cartoon characters with minimal design changes. Designs are framed into a straight and geometric visual structure, just as logotypes themselves are. Face expressions are inspired on the worldwide understandable cartoons aesthetic. The result combines logo sharpness with cartoons flexibility. As it's said: A picture is worth more than a thousand words.

Rooted Rooted in 1960s Brit modernism and infused with a fresh, contemporary spirit, FS Elliot is a future-proof, workhorse sans serif, well-suited to any assignment. Open and harmonious, its clear, fluid shapes lend words a distinctive and optimistic bounce. Britishness FS Elliot came out of a desire to create something squarely in the British modernist tradition, drawing on influences such as Design Research Unit’s portfolio of type for famous British brands and products, and Margaret Calvert and Jock Kinneir’s work on the British road sign system. Nick Job took the openness and simplicity of that style and injected warmth and wide appeal, coming up with a highly practical, multi-purpose family of faces. Enduring appeal “The great thing about having an eye on the future,” says designer Nick Job, “is that most of it is unknown. It’s what encourages us to take risks. And it leaves an uncertainty which, I believe, gives the best work its enduring appeal.” FS Elliot is available in a Pro version with full language support and a full range of Roman, Cyrillic and Greek weights.

Rooted Rooted in 1960s Brit modernism and infused with a fresh, contemporary spirit, FS Elliot is a future-proof, workhorse sans serif, well-suited to any assignment. Open and harmonious, its clear, fluid shapes lend words a distinctive and optimistic bounce. Britishness FS Elliot came out of a desire to create something squarely in the British modernist tradition, drawing on influences such as Design Research Unit’s portfolio of type for famous British brands and products, and Margaret Calvert and Jock Kinneir’s work on the British road sign system. Nick Job took the openness and simplicity of that style and injected warmth and wide appeal, coming up with a highly practical, multi-purpose family of faces. Enduring appeal “The great thing about having an eye on the future,” says designer Nick Job, “is that most of it is unknown. It’s what encourages us to take risks. And it leaves an uncertainty which, I believe, gives the best work its enduring appeal.” FS Elliot is available in a Pro version with full language support and a full range of Roman, Cyrillic and Greek weights.

The letters in Bouncer are round because they all begin as a ball and then have parts of the ball cut away. Bouncer was one of the earliest typefaces from Ingrimayne Type. Lower-case letters are smaller versions of the upper-case letters. BouncerTwo, designed twenty years after the original Bouncer, continues playing with the idea of making letters by cutting out parts of a circle, but in this case the circles are interlocking. All letters are upper-case but some of those on the lower-case keys differ from those on the upper-case keys. BouncerTwo is eye-catching but not highly legible.

Berryfield started as an experiment: making a font entirely out of geometric shapes. It started with a couple of circles and a couple of rectangles, and was constructed entirely from those parts, and parts made from those parts! For the uppercase, I took style inspiration from the heavy serif classics. But when it came time to create the lowercase set, I took a sharp turn and looked to fun unicase fonts, creating uppercase-height lowercase letters, in addition to uppercase alternates. When I finished Berryfield Regular, I liked it so much I made a lighter version (almost like a typewriter font), and a heavier version, to give you even more variety! Each font in the family contains over 520 characters, including over 300 extended Latin characters for language support. There are also a number of alternate letters to choose from, as well as superscript ordinals (ST, ND, RD, and TH), all of which are PUA-encoded for easy access no matter what design program you're using. Berryfield was a ton of fun to make, and I hope you have a ton of fun using it! It's smooth and easy for both print and crafting; the uppercase alone is straightforward enough for a magazine headline, but combining in the lowercase makes it quirky and fun.

Introducing Ultra System; A modern exploration of 8 fonts, each carefully designed to naturally compliment one another. With 6 clean sans fonts and 2 textured script fonts, Ultra System gives you a variety of ways to combine and arrange each font, allowing you to create striking & modern typographic designs. This typeface collection consists of 8 fonts; Ultra System Script • A textured, bouncy & flowing marker script font containing upper & lowercase characters, numerals, and a large range of punctuation. Ultra System Script Alt • This is a second version of Ultra System Script, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Ultra System Sans • A wide, bold sans font containing uppercase only characters, numerals, and a large range of punctuation. Ultra System Sans Line One • A thick outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Line Two • A thin outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Italic • Italic variations are included for all 3 Ultra System Sans fonts. FAQs; Accessing Ligatures • Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Many programs will automatically have this feature switched on for you, but if you need any help accessing then please feel free to drop me a message. Language Support • All Ultra System fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

8bit darling is digital taste font. I think digital fonts are bitmap fonts generally, but dared to make digital fonts that are not bitmap fonts and made it. The name "8bit darling" borrowed a name from my favorite song. I made it consciously that it is a digital style but not so much inorganic. It contains hiragana, katakana, alphanumeric characters, some symbols. Horizontal writing only, vertical writing is not possible. Although it is slightly unique, I think choose a scene to use too much. I would be pleased if it could help you. ＜「エイトビットダーリン」紹介文＞ カクカクしたデジタル風のフォントです。 デジタル風のフォントといえばビットマップフォントかと一般的には思うのですが、敢えてビットマップフォントではないデジタル風のフォントを作りたいと思って作りました。 「エイトビットダーリン」という名前は私の好きな曲から名前を拝借しました。 デジタル風ではあるけれどもあまり無機質にならないように、と意識して作りました。 収録文字はひらがな、カタカナ、英数字、一部記号です。横書き専用、縦書きはできません。 ちょっと個性的ですがあまり使う場面を選ばないかと思います。 みなさまのお役に立てれば幸いです。 ＜スタイルカテゴリー＞ 角ゴシック

Weroth is a lovely, eye-catching display typeface that will keep onlookers looking at your work. This font is a lot of fun; you can use it for informal or formal occasions, and it’s still adaptable. This font is still great for perfecting any creative project, whether it’s a child, teenager, or adult theme. Don’t wait, start utilizing this font immediately. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

Thertole is a dramatic display font with a strong background. Because of its rock-inspired design, this typeface is dashing and bold for individuals who dare to be distinctive. If you use this font for a variety of outdoor events, you will get an exquisite and unique look. Standard ligatures, character choices, and international language support are also included in this typeface. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

The type­face Hand Stamp Swiss Rough Sans is desi­gned for the Typo Gra­phic Design font foundry in 2015 by Manuel Vier­gutz. A dis­play sans serif type for head­lines with an authen­tic used stam­ped style by hand. It star­ted ana­lo­gous with 42 stamps. Vin­tage look plus state-of-the-art OpenType-features like con­text­ual alter­na­tes (calt) for more hand-stamped fee­ling with the auto­ma­tic gene­ra­ted sty­li­sitc set loop. Deco­ra­tive liga­tures like CT, LL, LI, LU, MM, OO, TH, TT, TU, UH and Ver­sal Eszett (Ger­man Capi­tal Sharp S) type the word LOVE for ❤ and the word SMILE for ☺. Cha­rac­ter Set: Latin Exten­ded (Adobe Latin 3). 1086 gly­phs with 4× A–Z, 4× a–z, 4× 0–9 and 100+ extra icons like arrows, ding­bats, sym­bols, geo­ma­tric shapes, catch­words and many alter­na­tive letters. Have fun with this font & use the DEMO-FONT (with redu­ced glyph-set) FOR FREE! Example of use from the Font The font works best for head­line size. Logo, Pos­ter, Edi­to­rial Design (Maga­zine or Fan­zine), Flyer, Music Covers or Web­de­sign (Head­line Web­font for your web­site), Web­ban­ner, Animations … ■ Font Name: Hand Stamp Swiss Rough Sans ■ Font Weights: Regu­lar + Mix + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play & Deco­ra­tive ■ Font For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1086 gly­phs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 100+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Access All Alter­na­tes (aalt), Sty­listic Alter­na­tes (salt), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Old­style Figu­res (onum), Lining Figu­res (lnum), Tabu­lar Figu­res (tnum), Slas­hed Zero (zero), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz

A random scan from a late nineteenth-century German type specimen book, encountered on the internet, provided the pattern for this surprisingly contemporary face. Although all of the characters are parallel to the baseline, the unusual dimensional treatment tends to give the impression that they slant upward to the right. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Niagato is Font that inspired by Japanese Letter style, perfect for any Asian theme of design & promotion to create spectacular designs! Niagato is perfect for branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. What's Included : - Multilingual Support