Type designer Hannes von Döhren created Klint. A sans serif typeface with a technical appearance and humanistic streak. The family includes five weights; each weight ships in three widths: condensed, regular, and extended. All of the 15 Klint variants have a companion Italic, rounding out family at 30 fonts. Klint's large x-height makes the design especially legible at small point sizes. In today's day and age, appliance manufacturers and/or companies in the mobile phone, computer hardware and software or Internet sectors are becoming ever more important. Klint fills the rising need for superfamilies with a technical feeling that are also legible in both text and display settings. Through conspicuous letters like R, K, k, or g, as well as the independent nature of its Italic, Klint exudes an ethos that separates it from the competition. Longer text passages in brochures, catalogs, or magazines would be well served by Klint's Light, Regular, and Medium weights. The heavier cuts are optimized for poster settings and headlines."

Introducing my new font Kampiun Samgor!!! A casual script font and combination with Hand Lettering style which gives a more personal touch and makes the font looks being customized. This font is suitable to use as a logotype, product designs, label, watermark, social media posts, apparel, invitation, signboard, sports club, motor/car, special events or anything that need handwriting taste. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

Razumec is a carefully crafted display serif typeface with a highly unique personality. Its epic yet warm sentiment is established by a skillful blend of slab and wedge serifs, tapered stems, curves with raised center, and creative weight distribution. Proper pronunciation of these style elements influenced wide proportions and medium-to-high contrast. Besides its main typology, it incorporates subtle allusions to a spectrum of typographic and visual traditions, from calligraphy, ordinary handwriting, blackletter, and medieval uncial script to the neoclassical Didone and industrial typefaces. All of these flavors are combined tastefully and consistently throughout the whole set. With its rich visual identity, Razumec is primarily intended for display usage, as shown in the promo images. It's perfect for branding and packaging. Fantastic for projects focusing on storytelling like fairy tales, epic fantasy books, board and video games with historic or adventurous themes. Superb for theme magazines, quotes, headlines, museum and concert brochures. On the other side, its authentic historical voice works great as a strong counterpart point in ultra-modern contemporary designs for print and screen. Web design, motion graphics, conceptual art, posters, and social media material are just the first few ideas. The laborious production process focused on achieving a high level of classical typographic virtues rather than having an extensive character set. Beautiful stylistically consistent characters with balanced weight and width, high-quality curves, meticulous spacing and kerning, well-articulated diacritics, and punctuation were priorities. Special attention is given to solving problematic letter pairs through contextual alternates, which enable better spacing and smooth joints (hence the recommendation to always keep the Contextual alternates feature on for this font. Learn more about it HERE). Razumec is a small but well-executed and thoroughly tested font. Font family comprises nine weights plus variable font.* * Variable font lets you access all the weights through the single font file. In apps that support it, you will find a slider where you can pick any number from 100 to 900 corresponding to 800 possible font weights. Learn more about variable fonts and their support on the following two links: VF ABOUT and VF SUPPORT.

During a visit to London in 2008 I fell in love with the square font used on the British car number plates. I was immediately inspired to start working on this font and have been developing it intermittently ever since. Several more trips to London and the project evolved before it finally took off and became Shentox. Despite the starting point being inspired by simple, everyday car plates, the font soon evolved into something fine and very rich in detail. Even though the square genre is very restrictive, Shentox is a highly legible contemporary font with a full range of weights, useable not only as a display family for headlines and posters, but as a distinct, clean font family for branding and general editorial use (Especially magazines). It has been carefully drawn paying extra attention to the details, high end finishes that makes Shentox a safe font for use in large scale work. For example, the curves of every individual corner have been adjusted character by character to avoid the common problems encountered with square fonts (Eg. darker corners between weights or a visually inconsistent radius between the Upper and Lowercases as a result of copy/paste). Shentox italic, which has a 12 degree slant, has been corrected to avoid distortion when slanted. The radius of the upper-right and lower-left corners are more pronounced, giving it a more fluid Italic feel. Shentox is available in Open Type format and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors. It supports Central and Eastern European languages. This type family consists of 14 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. Shentox PDF

Introducing Etnier – A brand-new modern family with a unique! Etnier is a modern variable font. Essentially, it's a sans-serif font with a sturdy and squared appearance, ensuring excellent legibility. It offers various widths and italics that provide versatility for your designs. The bolder, the stronger – this defines Etnier. Its bold and robust qualities, especially in the italic version, make it ideal for UI/UX-related designs. In total, there are 14 font styles available, or even more if you use the single files variable. You have the flexibility to slide through the weight and width options to find the sweet spot for Etnier. shape! What's Included? Etnier Main File 14 fonts family with Weight and Oblique options Instructions (Access special characters in all apps, even in Cricut Design) Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Have a great day! Dharmas Studio

Myteri Script is an expressive calligraphy font. Drawn and created by Mans Greback, this handwritten lettering has a wild personality and tough appearance, with tattoo-inspired shapes and vivid movements. To make swashes, use [ ] { } _ anywhere in a word. Example: Tatt_oos It is provided in four slant and weight styles to further extend the possibilities of use. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all European Latin-based languages. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Minnesota Plaid is the baddest plaid ever! It may not be the choice pattern for golfers' slacks or bagpipers' kilts, but it has a City-like flavor with its own twist, a stylish ruggedness & toughness that could even be described as a sort of formal graffiti, thanks to the art deco swash of many of its strokes. It’s the kind of look that would be perfectly at home with hip hop or rap music, football and other sports, cars and trucks, power tools, and other manly, masculine usages. Of course, women are just as capable of having the aforementioned interests, too. Minnesota Plaid is the kind of font that can get stuck on you! Digitized by John Bomparte.

A Bold Display Family in Three Personalities: ego, id, and alter. Dez Boulder works like a character actor, presenting the author’s lines but not with the deadpan delivery of a news reporter. Boulder develops the role, adding meaning through facial expression, gesture, and body language. The Dez Boulder family of display faces acts in a supporting role to give meaning to message and context to content. It is a very bold face, not understated. Each of its three personalities (and their sub-personalities) have a different timbre to speak the nuance of your message in a bold voice. Dez Boulder averages more than 800 glyphs per style with uppercase, lowercase, small caps, proportional lining figures, small cap figures, superiors, inferiors, fractions, stylistic sets, alternates, ordinals, case specific punctuation, and more. It has a full range of diacritics and covers all European languages using the Latin script.

A sans serif without rough edges Josefa Rounded is a beautiful text typeface. It’s unostentatious forms and balanced narrow proportions along with the softened round edges make it to appear gentle and pleasing even in longer texts. modern very legible narrow proportions high x-height distinctive forms Dtermining for the personality of Josefa Rounded are also particular idiosyncratic letters. For instance B P and R is designed openly; the bars of E and F equal each other; lower case c and e are distinctly withdrawn in their lower zone; y is symmetrical. Short ascenders generate compact word images. Cap height is shorter than the ascenders, so capitals are only little higher than x-height. Josefa Rounded is provided in 7 weights including the corresponding italics. Tabular figures and proportional figures are available through the appropriate OpenType function as well as ligatures and discretionary ligatures.

Solar is a font family designed by Carlos Fabian Carmargo G. Its members, together or separate, can be used in packaging, posters, cards, invitations and logos that need expressive letters with craft features. First, a set of arbitrary ideas were designed on rough paper, and through changes five styles resulted to mix and compose bright words and phrases. Solar Script comes from crossbreeding and the collusion of primitive visceral strokes and calligraphy on textured paper. This way its letters were planned for empty and full areas deteriorated sometimes simulating irregular ink clots. Therefore, the simulate trajectories with bold brushstrokes made that it works especially well in sizes larger than 12 points. Its rhythmic vitality and energy give personality, reflected in uninterrupted rapid and logical talics with strokes. Solar Words has more than 115 words unstable and inclined. Solar Dingbats has more than 100 brightness generating drawings, Solar Sans and Serif are capitals combined with other members of the family.

Picture this: you’re sitting in the Korova Milk Bar, sipping on a glass of the old moloko plus, and suddenly, you’re hit with the realization that your designs are missing something. That something, my dear malchiks and devotchkas, is this typeface. Its unconventional style will make your work stand out from the rest and leave your audience in awe. It’s not just about making your designs look pretty, though. It’s about making a statement, about challenging the norm. This font is all about breaking the rules, just like Alex and his droogs did in the streets of London. So, my fellow dim-witted bratchnies, don’t miss out on the opportunity to add a touch of surreal eccentricity to your work. Get this Clockwork Orange-inspired typeface today, and let your designs become a symbol of rebellion and creativity. 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.

Vulpa is a charming serif family in regular, italic and bold, informed by the proportions of a personal favorite, Plantin. The quirky foxtail terminals (inspired in part by my script font, Gelato Script) can be seen across all three styles. These little details make the typeface very expressive at display sizes, but practically disappear at text sizes, making for a very versatile face. Across the three styles there are a number of useful OpenType features which make Vulpa capable of demanding typographic work, even though there are only three styles. Regular, italic and bold are all you really need anyway! The regular and bold weights both include small caps, and the italic features swash capitals for most letters. The italic also features quaint discretionary ligatures, and all styles include standard ligatures, automatic fractions, proportional and tabular, lining and oldstyle figures. If this isn't enough, the Vulpa family also includes Ornaments and Drop-Cap fonts. There is an ornament for A to B, a to b and 0 to 9. These have been carefully designed to match the feel of the text fonts, and many are influenced by ornaments and fleurons from the ATF 1912 Type Specimen book. The drop-caps have an engraved look, and two color versions can be made by overlaying upper and lower case. Despite the lack of weights compared to ‘workhorse’ faces, the charm and versatility of Vulpa make it a really useful typeface, that I hope you'll enjoy using as much as I enjoyed making.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Introducing "Beachy," the ultimate summer display font that effortlessly blends elegance with nostalgic 90's and 00's vibes. Uniquely crafted, this multilingual typeface captures the essence of beachy aesthetics, offering both regular and outline variations. Whether you're designing posters, marketing materials, T-shirts, or headlines, "Beachy" infuses your projects with a touch of sophistication. Its versatility shines through, reflecting the sun-soaked days and gentle coastal breezes. What sets "Beachy" apart is its ability to evoke a sense of timeless charm while embracing the retro styles of the past. It pays homage to the bygone era while remaining relevant in modern design trends. Pairing "Beachy" with other related font families or typefaces further enhances its appeal. Consider combining it with complementary styles to create harmonious typographic compositions that exude a cohesive visual experience. Apart from its aesthetic appeal, "Beachy" boasts a wide range of functional aspects. Its character set includes support for multiple languages, allowing you to communicate your message effectively across various cultures and regions. The regular and outline variations offer flexibility, empowering you to experiment and create eye-catching designs that suit your specific needs. The design concept behind "Beachy" was born out of a deep appreciation for the carefree spirit and timeless beauty of coastal living. It aims to encapsulate the feeling of warm sand between your toes, the sound of crashing waves, and the nostalgia associated with 90's and 00's aesthetics. We created "Beachy" because we believe that design should not only be visually captivating but also evoke emotions and memories. By using this font, you can transport your audience to a place where summer never ends, allowing your creativity to flourish in a world of endless possibilities. Let "Beachy" be your gateway to capturing the magic of sun-soaked days and embracing the allure of the coastal lifestyle.

Start good day for new font! present to you, Gilter! Gilter is a font created specifically to give your designs a modern, stylish, and unique feel. With a combination of fun retro serif shapes and an elegant appearance, this font is the right choice for designs that want to display a creative impression and be different from the others. Gilter presents strong and tough-looking letter characters, but still maintains a friendly and welcoming impression. This makes this font very suitable for various types of projects, from branding, packaging, posters, to website design. What's you get? Gilter Regular Gilter Italic Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. I really hope you'll get pleasure using Gilter font and it will be perfect addition to your font collection! If you have some questions, please write me a letter! Shakira Studio

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar

[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.

The Black Puma typeface was inspired by the rock beats and the honest spirit of today's indie music scene. Just as evolving garage bands', Black Puma’s strength lies in its fresh and brave approach: to playfully experiment and proudly take its imperfections as long as they are needed to stay real and honest. Black Puma's aim is to entertain, while expressing a strong human touch through its handmade and creatively assembled characters. Black Puma's varying rounded and edgy shapes create a vibrating yet coherent visual, which carries a positive, playful atmosphere. Its irregularities and extra bold characters empower Black Puma to have great and touching visual impact, which make it stand out of the mass flow of information delivered in the information society we live today. Black Puma font - with its 370 glyphs - includes all the accented characters of the Latin alphabet, and also comes with a couple of alternate characters (stylistic and contextual) to play around with. And, above all - as mentioned before - it includes its essence: the young spirit. So come, play around and have fun with Black Puma. Use it to create expressive, passionate posters, flyers and art work full of spirit for the awaiting young-minded public. You can find more artwork using Black Puma under the "Gallery" tab above.

Created as a logo typeface in 2004 by Francesco Canovaro, Duepuntozero is one of Zetafonts classic typefaces. A monolinear sans serif typeface with rounded corners and condensed proportions, strictly based on modular geometric design, it was at first designed in five weights to be used as a condensed companion typeface to the rounded display family Arista. In 2019 the family was completely redesigned by the Zetafonts Team, expanding the original character set to include cyrillic and greek glyphs and adding four extra weights and italics to the original weight range. This restored and revamped version, named Duepuntozero Pro, also includes full Open Type features for positional figures, fractions and Small Caps. With his rounded, minimal aesthetic, Duepuntozero embodies the desire for simplicity and playfulness of contemporary mobile applications, making it a perfect choice for gaming and app interface design. Its compact design allow for maximum space saving on mobile screens when used as a text typeface, while the strictly geometric design and the extreme range of weights (including thin and black) make it excel in display, logo and editorial use. A complementary set of free icons in the same range of weights of the font is provided to help designers build consistent branding through pictograms in infographics, interfaces and editorial products.

A gentle breeze on a warm summer's day. A cozy gathering of friends and family around a crackling fire. The sweet aroma of freshly baked cinnamon bread. A slow walk in the autumn woods, light sparkling down through the multi-colored leaves. Billowing white clouds against a stark azur sky, leisurely floating past the tops of palm trees. What do these idyllic scenes all have in common? A: Most people can never find the time to enjoy any of them. B: These are just some of the things you would never try to describe using a crankish font like Spleeny Decaf GD. Just as ITC Fontoon was designed to be used with the many critters that populate the "Toonie" series of fonts, Spleeny Decaf GD was created by Steve Zafarana for use in the balloned dialogue portions of a new panel cartoon feature currently under development. Spleeny Decaf GD is the first completed font in a family that ranges from the jittery san serif Spleeny Espresso GD to the sedate and serifed Spleeny Asleep GD. Each font in the series appears a little more relaxed and staid than its predecessor. None of them however, will find themselves being used for the text of any legal documents. Spleeny Decaf GD is the perfect font to use when the weight of the message is leaning towards the light and jocular side of things. So remember, if your documents are starting to put you on edge, it may be time to switch to decaf. Spleeny Decaf GD that is.

Acuta is a new all-purpose text serif with a good readability and a contemporary, robust look thanks to its low-medium contrast. The differences between thicks and thins are less strongly marked than in oldstyle text faces; yet the diagonal stress needed to facilitate reading is partly provided by the letter shape itself: sharp angles and italic construction give the right dynamism to the text. Acuta becomes very distinctive as a headline, while its big x-height makes it suitable for texts at rather small sizes too. The family consists of seven weights & correspondent italics, with a large character set. The Book and Medium weights, relatively close to each other, can both be used as “plain” weight depending on the size of the text, background color or backlighting. Small caps, oldstyle and tabular figure alternates, superiors and inferiors and ligatures are available in all styles through OpenType features. The real italics include unobtrusive swash alternates to emphasise the written feeling. Please find a specimen of Acuta (PDF) in the Gallery section.

It's too much fun! Of all the fonts I have designed, this is my favorite. Thin strokes and delicate embellishments really do it for me and I hope it's for you too! You won't find curves like this in regular fonts. This is modern meets the classic, minimally meets the decorative. Look at the numbers ... then, look again. They have curves of all kinds of unusual places. If you want to stand out then this is the font for you. Logo or title, fashion distribution to masthead, monogram or Instagram, create beautiful art with this font. Rollgates Victoria can do it!

Medallion is a new and fresh font script that comes with a vintage and neat style. so this font can be used easily, even in mix and match with other fonts. so it can provide new alternatives and sensations for designers or craftsmen, in working on various projects. This font is perfect for all your project like the wedding invitation, greeting cards, branding materials, business cards, quotes, posters, insignia, badge, greeting cards, vintage logo, or you can use this font for various logo project (logotype) and more! The following characters are ideal to make an attractive message, mix and match Medallion with a bunch of alternative characters to fit your project Medallion comes with 318 glyphs totally. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA Unicode (specially coded fonts). so that all the alternate characters can easily be fully accessed by a craftsman or designer through either Windows or Mac computer without any requirement for fancy design software. Mail support: If you have any question, please contact me Via e-mail "unicodestudio@gmail.com" Thank You!

Meet Strangeways! A cute handwritten font in 2 weights, bold & italic, with: A-Z, a-z, 0-9, accents punctuation and symbols Ligatures Extra squiggles that can be used to underline, strike through or decorate your text. New! Cyrillic alphabet Strangeways great for any of your cute designs, in quotes, postcards, logos.

Hexaframe CF evokes the awe and potential of of heavy machinery and robotics. Clad in tough polygons and rounded edges, Hexaframe is a perfect typeface for corporate identity, STEM toys, and user interface design. Hexaframe CF pairs well with simple typefaces set in contrasting sizes, including Greycliff CF, Artifex CF, and Visby CF. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Kiyosace is an authentic brush font with very cool textures and a natural feel. It's perfect for posters, headlines, and logotypes. Its rough and tough style gives it a unique authenticity that sets it apart from the rest. Kiyosace font includes : Standard Latin Uppercase and Lowercase Numbers, symbols, and punctuations Swashes Multilingual Support. PUA Encoded and fully accessible without additional design software Simple Installations Works on PC & Mac Thank You.

Yes, finally. This one took the most time and the most restarting. Years went into imagining what Lust Text should look like and how it should structurally behave in order to truly improve upon a setting that includes any of the Lust typefaces. I approached it as much from the side of the type designer, as I did a potential user. The flow, the warmth, the personality needed to be there, but all of the excess had to be removed responsibly. In the process, and in need of inspiration, I looked backward to historical artifacts and precedent. In each early Lust Text approach, the solution was lackluster and/or vanilla and not actually a ‘Lust’ typeface. The exercise was not in vain though. By exploring past examples, I found my footing drawing for media now and how it might be used later—all the while, producing seamless, elegant curves and restrained indulgence (that sounds almost silly to say, but I like it). The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Finding a perfect font for your designs may be tough work and time-consuming. Definitely, you never want to have a too plain, common font, but you have trouble finding the one to express your creativity and visions precisely. For that reason, Sweetie Darling is here to meet your needs. Sweetie Darling is a cursive-style handwriting script font. Like other cursive font designs, the letters are interconnected, but another character of this font is that the letters have high contrasts in curved edges to beautify the display. Due to the seemingly complex font style details to add the font’s legibility, it is suggested to apply this font for big text sizes. Additionally, you can enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Sweetie Darling fits best for various design projects, such as brandings, headings, magazine covers, quotes, invitations, 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.

Inka is the name by which the closest-ones called my partner. Inka is also the name of a text typeface – in its form very friendly and welcoming. The same way as relationships develop through the life, text typefaces develop, too. I had started the work on this typeface about the same time as I met Inka, while reaching the final output has been a long and progressive process. Inka is a modern serif typeface with wide universality in functions (various editorial usages as books, magazines, annual reports…). The concept and the scope of the complete type family are based on the principle of optical sizes of the typeface designed for the particular use of the size of typesetting. Inka consists of several drawing variations for the typesetting of small sizes (Small), text typesetting (Text), larger typesetting sizes (Title), and headlines sizes (Display). Two constructive alternatives, differing in the height of the construction of the font signs, further extend the variability of the usage of the typeface. Inka A has classical proportions ideal for book typesetting. Inka B has lower ascenders and descenders, lower uppercase glyphs and numbers. Typeface with such construction allows us to use the typesetting efficiently while using tighter leading and still looking more contemporary. Each of the font set (Display, Title, Text, Small) consists of four weights (Regular, Medium, Bold, Black), each has wide character set and a lot of OpenType features. “Inka is dedicated to Inka.”

Hastafi is a classy serif typeface. It is naturally bold, with contrasting, hairline thin horizontal strokes, and a confident character. Use it for any project that needs that extra bit of elegance and personality, without losing the thoughtfulness and authenticity of a serious serif font. The Hastafi family consists of eight beautiful styles: The Regular, for a medium and normal variety, and the flowing Italic version. It also contains a swash style for decorative additions to the letters, and each of the styles as an emphasized Bold. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Canadian designer Patrick Griffin made P22 Counter as an exercise in exploring the limits of counter-space and interchangeability between extremely geometric and standard calligraphic forms. Within a field of solid stems and horizontal strokes, parallel lines and curves play the role of counterparts to define square and round shapes, making what’s revealed just as interesting as what’s withheld. Each of the three basic Counter fonts stakes its own aesthetic territory, from clean basic minimalism, through the nostalgia of exuberantly pixel-based design, and on to calligraphic-cum-typographic, all within clear and precise geometric parameters. Counter Pro comes with that entire range included in a single font, giving its user the ability to move freely in a visual space and counter-space that can be defined by more than 1450 glyphs. While all the fonts come with extended Latin language support, P22 Counter Pro includes all three fonts in one font, many alternates, swashes and ending forms that are not available in the basic fonts.

P22 Flora Mambo is based on the distinctive style of 20th century illustrator Jim Flora. Most widely known for his Jazz album covers of the 1940s & 50s, Flora's style shows his fantastic imagination and bold graphic style. The P22 Flora Mambo Set contains 3 fonts- Flora Mambo, a 2-part font that can be used to achieve 2-color text in the style of Flora's iconic 1955 album design, Mambo for Cats and Flornaments, a set of 72 ornaments that features a variety of Flora's illustrative styles from his Jazz album covers to children's books to his fine art prints. Please note that P22 Flora Mambo B is not intended to be used on its own but rather is included with P22 Flora Mambo to create 2-color text. For best results, use with page layout applications. The fonts contained in the P22 Flora Mambo Set are licensed through the Estate of James Flora and JimFlora.com .

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

Leroy is a font family of 5 members designed from geometrizing Roman and Gothic skeletons. Its purpose is to provide optimal reading of titles and paragraphs with strong mechanical flavor. Because of this, its variables are designed to sort information in media such as labels, signs and industrial atmosphere packaging related with the Soviet Union’s fonts in 1920. This idea matured white horizontal lines superimposed on alphabets drawn with an ancient architectural team known as “Leroy K & E Controlled Lettering System”. Then that evolved into a family concept unifying its proportion to the same X height for its members, resulting in a versatile type system. Therefore, Regular and Bold variables have low contrast between thick and thin strokes. Its upstream and downstream are extremely short, generating a suitable interline that clogs the vertical area. Its overall width equal to its X height, supports its tight spacing that compacts the horizontal area. Therefore, the variant with black caliber has plenty of contrast between thick and thin strokes. The light variable has a “blind” effect radiating light halos, ideal to propose hierarchies and combinations with orthogonal projection. In that sense, Leroy’s modular character reminds constructivist ideology merged with typographical variants suitable for graphic design with geometric look. To achieve this, I studied the softening of forms and counter blocks into a typographical system specially designed for composing useful information to attract attention. In that sense, the dingbats were obtained through a careful process of research and testings done with drawings that provided full and empty visual strategies that with the passage of time helped to forge the major decisions of a metamorphosis from industrial tools, birds and humans from pictogram mixing various genres.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

The concept of M Elle comes from M Hei and M Yuen, with a sense of contemporary graphic design, aims to accomplish a refreshing, harmonious balance of softness and toughness. The combination of regular crossbars (橫) and stems (豎), rounded hooks (勾) and angles (折), as well as dots (點), ticks (剔) and downstrokes (撇、捺) that are ended sharply, makes it a classy but contemporary, clean and affectionate typeface. The font family consists of 3 essential weights to cater for different needs. Xbold appears elegant and magnificent, Medium weight is practical and affectionate, while the Light style is especially clear, legible and flexible in use.

Hermanz™ Titling is inspired by the most majestic caps that Hermann Zapf ever drew. They are inscriptional caps, square caps, or “capitalis monumentalis”. These caps are some of the most beautiful letters made by one of the greatest talents of our time; so beautiful they deserve to be seen and appreciated by everyone. If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Hermanz Titling works for anything labeled "fine": fine dining, fine music, fine art (pamphlets, books, posters, cookbooks). It also fits well for religious topics: posters, events, websites, hymnals, for biblical; and ceremonies, religious or otherwise. Emotions It Can Communicate: • Importance • Timelessness • Special Event • Tradition • Reverence • Artistry • Beauty Released June 2021 on the Memorial of Hermann Zapf, as part of the California Type Foundry Memorial Series: Honoring the life and work of the great font designers. FONT STORY The Majestic Caps When I was on one of my visits to rare books rooms I found some large caps of Hermann Zapf, and I knew that I had to make a font inspired by these. I was surprised that no one had ever made them into a font. They were some of the most beautiful caps I had ever seen. These caps were surprisingly difficult to make. I thought it would take me a week or two; to get the detail and spirit right took significantly longer– but it was well worth the effort! When you print Hermanz Titling on a page, you will see what I mean. Even when printed digitally, it’s the closest thing to letterpress. You might even have some people thing it was printed by a traditional method with ink! (Note: Unless printed at very large sizes, this font is not recommended for actual letterpress, because the serifs are too thin.) If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Enjoy this breathtaking font, and may it help inspire people with your messages! –Dave Lawrence & the California Type Foundry

Do you like cats? We love them! Cats do so many crazy things, we thought it was time to design a font for cat lovers and their cat-loving friends. LiebeKitty is just right for greeting cards, birthday invitations and to add pretty details to your photo album. We have spent much time on cat-watching research and included over 50 cats and kittens for a wide range of creative applications. Happy cats, mad cats, bad cats, hungry cats, egyptian walk cats, and more. Plus‚ cats love fish, just like we do. Check out LiebeFish, one of our other popular fonts. And if you're looking for a typeface that perfectly fits the hand-drawn looks of LiebeKitty, check out LiebeErika, #1 Hot New Font in October 2010!