Introducing Asheboro, a groovy retro font with modern style! Asheboro pairs the elements of groovy psychedelic lettering of the 1960's and 70's with the clean lines found in a modern geometric sans-serif. This combination creates a completely new aesthetic without losing the familiarity of the iconic typography of the past. With its iconic retro look, Asheboro is a great typeface selection for special branding projects, themed events, websites, even comic books and graphic novels. The Asheboro font family includes nine font weight variations for the ultimate font styling versatility. Each font weight is meticulously balanced and well-kerned for the optimal look. In addition, Asheboro includes a beautifully crafted number set, an expanded symbols set, and a large library of multilingual characters.

Iliad was designed to bridge the gap between traditional serif faces and modern humanist fonts. It uses a gentle, traditional, partial serif combined with a subtle curving of many of the "corners" in the characters. The combination of these two elements makes it decidedly contemporary yet it retains the readability that is associated with more traditional typefaces. The contemporary look is enhanced by a gentle tapering and shortening of the terminals and by less dramatic shifts in stroke width than is found in traditional typefaces. The lowering of the midline provides just a hint of "moderne". It has carefully crafted spacing and kerning, making it easy to use in any display setting. It also includes all punctuation, symbols, special characters and diacritical marks.

Mexico’s storied culture is one of the most recognizable today. Its amazing vibrant art and delicious foods have made the leap to influence many parts of the world in recent years. This proud, intense and diverse identity was the inspiration behind La Taqueria, a set of four fonts that express different characteristics of Mexican pop culture. The heavy and spicy, the light and gentle, the constant dynamism, all come together with one rhythm to produce an explosion of personality. Just like its predecessors Distillery and Scrapbooker, the La Taqueria set contains down-to-earth alphabets perfect for chalkboard art and handmade design. All the fonts include alternates and ligatures, providing plenty of variation for that spontaneous appearance everyone is looking for these days.

Xenois is a sweeping suite of designs that will provide solutions for a multitude of projects. Annual reports, restaurant menus, business correspondence, corporate identity programs, movie credits and advertising campaigns can all be set with various faces from the family. Interrelating perfectly, the sub-families within the series include Xenois Sans, Serif, Semi, Soft, Slab and Super. The designs have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle. The Xenois typefaces are based on a common underlying model; they have the same cap height, the same lowercase x-height, the same stem weights, and the same basic character shapes. This unity of shape and proportion results in a remarkably complementary set of typeface designs.

A contemporary sans-serif typeface with an agreeable character, Doctrine Sans is the moderate comrade of the display typeface Doctrine Stencil. From the obscure starting point of the North Korean national airline livery, Doctrine was developed to encompass a series of more mature typographic influences. Doctrine draws influence from the classic mid-century neo-grotesques and, while it retains a sense of crisp modernity, it exudes a more contemporary and human character. The rounded, lighter weights speak with graceful composure while the large x-height, low contrast and squarer, heavier, weights give Doctrine an affable charm and a persuasive voice. The alternate characters borrow elements from humanist and geometric styles and provide an idiosyncratic, experimental counterpart to the primary character set.

Honesty is sans serif font with flared stems. As such, it belongs to the incise genre which is historically inspired by the roman civilisation and letters carved in granite or marble. One of the major example of it is the Trajan’s Column in Rome which inspired a font called Trajan, designed by Carol Twombly in 1989. Honesty is also inspired by more brutal font such as the Albertus, designed in 1938 by Berthed Wolpe, and its shape is highly influence by the work of the hammer. Despite this brutality and urgency due to the carving technique, the design of Honesty bring softness to it thanks to its low contrast and smooth curves. Honesty’s design include 16 styles, from thin to black in roman and italic.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

In the late 60’s, one of the best art publications in the country was Motive magazine, published (amazingly) by the United Methodist Church. Filled to the brim with poetry, essays, line drawing and woodcuts, it also featured some cutting-edge typography. Boxy/Code is based upon my memories of woodcut typography from that great magazine. Since Boxy/Code ’s lowercase consists of the uppercase’s negative spaces, it’s easy to combine the two with Layer Styles in Photoshop in order to achieve the effect I used in one poster above. It also works great if you use a well-known text as a background. This new version is totally redrawn and features all the Latin-accented letters. Uppercase consists of black capitals in boxes; lowercase features the negative spaces of those boxed capitals. Uppercase and lowercase line up exactly for 2-color effects.

I always admired the beauty of Gothic letters, but lamented their low readability. The revivals of Gothic faces are beautiful, but they revive everything, including the traits that prevent readability. Blackletters are fine in ads and titles, but can’t be used in long texts (like books on Middle Ages, Medieval romances etc) where they would be the perfect historical choice. And I wanted to change this scenario. With Giureska, instead of taking one particular face to revive, I chose the best traits from many Gothic faces, i.e. the forms that were pleasant to look and easy to read. For the ‘small caps’, I studied uncial scripts and made a similar selection, adapting everything to make a unified font. With three weights, true italics and the uncials, Giureska can endure a variety of projects, bringing the appeal of Middle Ages much beyond the cover.

This family was inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books. Although it is an early Fraktur pattern, it is easy to see the characteristic differences with the Schwabacher style (look at 1538 Schwabacher), like in the small d, o or y... and the capitals (look at the H, K, T...). Frequently, Schwabacher and Fraktur were used together in the same book : Fraktur style for the main and Schwabacher for marginalia and comments. This font contains standard ligatures and German historical ligatures (German double s, long s, ts...) and diacritics (special ummlaut "e superscript" and "∞" instead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font.

The letters in the Linotype Aspect Family fonts seem to be experiments in the handcrafting of letters with just a few basic geometric forms. For instance, the bowls of the letters C, D, and G in Linotype Aspect Intro are all made up of narrow half circles. Features like this make Linotype Aspect Intro perfectly suited for headlines and short passages of text. Its quirkiness is sure to lend a smile to the faces of your readers. For shorter headlines with larger point sizes, try setting your text in Linotype Aspect Regular, the second member of the Linotype Aspect family. Linotype Aspect Regular uses the same basic letterforms as Linotype Aspect Intro, but reverses them out in white, and places them over bulbous black shapes. The Linotype Aspect family was developed by German designs Hans-Jürgen Ellenberger in 1999.

Violencia - An Illustrated Wild West Font Violencia is a hand-dawn font inspired by the legendary age of the Wild West and its tales of gunfights, train robberies and blood vendettas. It’s an all-caps design the evokes the textured style of vintage western movie posters, comics and novels. The Violencia font family includes all-caps uppercase and lowercase characters, along with numerals, punctuation, symbols and language support. It also comes with a complete set of alternative characters, all in the 3 unique styles of, Distressed, Outline and Block. Wingsart Studio Design Tip! Mix the uppercase and lowercase characters and look for interesting shape combinations that might occur within the letters. Take advantage of all the alternatives too for a much more custom look that’ll be unique to your design. For more great illustrated fonts browse the ever-growing collection by Wingsart Studio.

The initial idea for the Oops font, was to create graphemes, and by using them it could imitate a mark of a spilled liquid-stain. In an attempt to make the most convincing effect, those graphemes were written on glass. The final appearance of the graphemes, mostly remain in their basic form, and have the characteristic of a liquid, like fluidity in motion. This manuscript is expressive, but that does not affect the readability of the letters. The generated font was created by using Photoshop, Illustrator and a little bit of interventions in Font Lab. Font Oops is updated and edited version of an old version of the Art decor font, which had just basic letters. Today, Oops font contains Latin and Cyrillic letters, and it can be ideal for use in subjects like a paintball, art, expression, ink, water...

FonteysPRO is the new and improve version of the Fonteys font family by Fernando Fuentes and the Eysner award nominated Albert Monteys. It is an informal font family designed to letter comics. With a unique handwritting style is also perfect when you need an informal typography. FonteysPRO has a lot of variants for each letter to enhance the handwriting feeling. It’s feels like actual hand lettering. And, if were not enough, the Fonteys supports almost all latin languages, cylliric, greek, and even vietnamese. Its early version Fonteys, available at "pay what you want" in the designer webpage, has became in a success in the Indie Comic scene from Spain. Now with the PRO version FonteysPRO will surely become in one of the most used comic books typographies in the world. (In our modest opinion, of course)

Mystical Woods is a script and caps font duo. I went back to the basics for this one -- ink and a brush on paper. I cleaned up the letters enough so that there are no jagged edges, but left enough of the character to keep that inky look -- those are the Rough fonts. Then I went back through again and cleaned the heck out of them, making every line and curve smooth for our cut-crafting friends -- those are the Smooth fonts. Since these two fonts were written together with the same tools and style, you can also mix the script letters in with the caps letters! Each font comes with a full set of standard characters and punctuation, as well as over 300 extended Latin characters for language support. And the script fonts also have 45 double-letter ligatures!

Cormac is a humanist typeface characterized with it's large x-height and slightly flared stems. The word that best describes our ideas in the beginning of the project is "simple" - the idea behind it was to strip the letter forms of everything unnecessary, and yet keep the typeface interesting. The typeface is friendly without being too cheezy thanks to its humanistic character, flared ascenders and stems reminding of its calligraphic origin. The proportions are closer to the traditional old style typefaces. Cormac is open and readable typeface coming in 7 weights plus their matching 'true' italics - from Extra Thin to Bold. The family comes with Cyrillic support, great range of numerals, fractions, ligatures, alternates and a lot of special characters making Cormac a great solution for greate range of design work - branding, editorial, web, wayfinding, etc.

Introducing the 'Merchande' Font Trio Inspired by a variety of midcentury typefaces, the Merchande trio was designed to add pizzazz to your branding, packaging, advertising, and print projects. What's Inside? The serif is fantastic for headlines, logos, and anything that needs to grab attention. Its tall, condensed, and confident appearance is a great head-turner, made even better when combined with the two below. The script is perfect when a premium touch is needed for your work. Its use immediately adds a charming, personal quality. The best part, it's wonderfully legible in any size. While the sans works fantastic as a large display font, it truly shines when used for its intended purpose. Small text. Evidence of this is scattered throughout the presentation images. Tip: Increase the space between the letters (tracking), it looks awesome. Thanks for looking! Tom

Gazi is the honorary title given by the state to the commanders who defeated the enemy by showing extraordinary benefits. This title was first given to Mustafa Kemal Atatürk by the Turkish Grand National Assembly on September 19, 1921. Gazi font was designed for Mustafa Kemal Atatürk, who founded the Turkish Republic. This type face consists of two families:: ▪ Gazi: Font family with Latin alphabets ▪ Gazi Pro: Font family including Latin and Arabic alphabets The Gazi font family is ideal for those looking for a new and aesthetic serif font. This font with modern lines can be used in all broadcast and printing areas. Gazi font will meet your needs and expectations in terms of the number of glyphs and the languages it supports. The font family includes many open type features, as well as some ligatures, and many currency symbols.

Geogrotesque Slab is the ideal companion of the popular Geogrotesque. The challenge was to achieve a fully recognizable font that works as part of the existing family, for that reason the Slab version conveys the same message in a different way. The new font remains clean and tech with a human touch yet provides a new security, confidence and firmness thanks to the serifs. This new addition, combined with Geogrotesque, Geogrotesque Stencil and Geogrotesque Condensed Series provides even more design options and now there’s a Geogrotesque for every need. The type family consist of 14 styles 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. It is available for desktop and WebFont and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors with support for Central and Eastern European languages. For more details see the PDF.

GRUND is a new fontographic adaption of a remarkable 1920s epigraphical find in the city of Leipsic. This old well-known European trade fair hotspot struggled with a severe shortage of exhibition space around 1920. The solution was to dig deeper into the matter – literally – and 1924 the world’s first underground trade fair exhibition hall was opened right under the city’s central market square. After several changes of use during the past decades the sophisticated Art Deco entrance structure (architect: Otto Droge) was re-opened in December 2013 as a gateway to a new subway rail track. – The original brass lettering of the UNTERGRUNDMESSHALLE MARKT has been retrieved – and served as the inspiration for this new and unique font. If you’d like to see more exceptional Art Deco type, have a look at my Arthur series. __________________________________________________________________________________________

Designed by Nadine Chahine, the Amariya™ typeface family is intended for long form, on-screen textual content. It supports the Arabic, Persian and Urdu languages. The design is consistent with traditional text typeface models popular in the Middle East, but has a lower level of stroke contrast optimized for on-screen reading. The family is available in nine weights ranging from a light hairline to a very bold black. The middle weights are intended for setting text copy while the extreme hairline and black designs are best suited for headlines, sub heads and similar applications. The Amariya family can be used for numerous projects from branding to blogs, in a variety of interactive design environments on both large and small screens. The fonts include the ITC Charter design by Matthew Carter as a Latin companion.

Erdogan Karayel, a master in graphic arts and a cartoon artist, has long dreamed of transforming characters made up of his own handwriting into fonts. This dream has come true with the technical support of Karayel's school friend Sabahattin Kayış, a graduate of the Istanbul School of Applied Fine Arts (Marmara University Faculty of Fine Arts). The biggest problem of handwritten fonts in the font world is the difficulty of reading in long texts due to their curved and flexible letters that create spacing problems when used side by side. The "Karayel Calligraphy", on the contrary, is created as a solution to this problem. It's a font that is sufficiently fluid, visually satisfying and easy to read. In particular, a lot of effort is made to ensure the utmost harmony between the character's spaces. The “Karayel Calligraphy” font is now available for download.

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

HS Alwafa is an Arabic display typeface. It is useful for book titles and creative graphic projects where a contemporary, streamlined look is desired for digital purposes. The font is based on the simple lines of sequre Kufi calligraphy, that support Arabic, Persian, Urdu and Kurdish. This font was created in the beginning as a digital weight in 2012 for use by an engineering digital company. The company tends to follow the geometrical united and equal shape in both vertical and horizontal dimensions and with a tendency for digital strokes showing digital numbers under the name of base. I followed that with three styles: first, the digital with a solid base, second is a stencil and the third is the regular solid font. By producing this font, we provided the Arabic fonts library with various styles which grant many design purposes.

Introducing Softly Bright, a dynamic font duo that effortlessly combines the contrasting styles of sans-serif and brush fonts. The sans-serif component of this font is a testament to clean lines and modern minimalism. Its characters are created with precision and defined strokes, offering a sharp and sleek appearance that exudes professionalism and readability. On the other hand, the brush font in Softly Bright adds an expressive touch to your designs. It embodies the authenticity of hand-lettered strokes, with each character bearing the organic irregularities of brushwork. This brush font retains the proportions of the sans-serif, ensuring that the two styles harmoniously coexist. Softly Bright fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Please welcome the new grotesque family; slightly more geometric than Block Berthold but much softer than the industrial Din Next, Rockeby includes a lot of stylistic alternates and ligatures to help add character to any type of design. The slightly curved diagonal strokes give the sans serif fonts its unique personality and soft look. Even more - the family has two scripts (4 weights each) which will enhance the design even more. Combining italic with the script has never been easier - they both have the same italic angle. These scripts also benefit from contextual alternates, swashes and ligatures. And last but not least, the family also includes Extras fonts (which also have 4 weights) which can further enhance any design you are creating. There is an new addition to the family - Rockeby SemiSerif and Rockeby Brush families!

Remember that kid in your class who always knew the right answer, who always had their hand raised? The first kid to finish the test, the kid who LIKED the pop quiz, the kid who did the homework five seconds after the teacher wrote the assignment on the board and was guaranteed to get an an A+, even though they NEVER studied? THAT kid? Burghal Design has a font that both remembers and salutes that kid, that teacher's pet, that know-it-all: SmartyPants. SmartyPants comes in regular, bold, and because bold just isn't bold enough for SmartyPants, super bold. There's also SmartyPants Doodles, with 90 pictures of SmartyPants stuff (such as a safety pin, a doghouse, an inkwell, and even a couple of cooties), and SmartyPants Snowflakes, with a whopping 182 dingbats to choose from.

This versatile font family comprises 10 distinct weights, ranging from the delicate Thin to the bold and distinctive Ultra Heavy. What makes Deuterium special is its approach to the heavy styles. Balancing geometric principles with the challenges of extreme weight, Deuterium manages to preserve the geometric character even when the stems expand to extraordinary widths and the apertures narrow to the size of a dot. In the world of type design, geometric sans-serif fonts are known for their precision and adherence to symmetry. Deuterium deviates from this norm while keeping its geometric essence — it is a thoughtful reinterpretation of the classic style. Whether you’re designing for branding, headlines, or text, Deuterium is a versatile tool that adds a modern touch to your projects. It explores geometry in unconventional heavy styles, making your designs stand out with a subtle yet distinct geometric charm.

I present Hatran as the last font of 2023. The Hatran script was used in what is now northern Iraq to write Hatran Aramaic, a Middle Aramaic dialect that was spoken in the region of Hatra and Assur in northeastern Mesopotamia from about the 3rd Century BC to the 3rd Century AD. Hatran Aramaic is also known as Aramaic of Hatra or Ashurian (Leššānā Assūrāyā \ ܠܫܢܐ ܐܣܘܪܝܐ), and first appeared in writing in 98 BC. The script is also known as the Hatran Aramaic script or Ashurian script. It appears mainly in texts found in the ruins of Hatra. There are also some texts in Hatran Aramaic from Assur and other places. It was discovered in 1912 by archaeologtists working in Hatra, which is near to the villages of Al-Hadar (الحضر) in the Nineveh Governorate (محافظة نينوى) of Iraq.

Brandon Grotesque is a sans serif type family of six weights plus matching italics. It was designed by Hannes von Döhren in 2009/10. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Grotesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes the light, regular and medium weights are well suited to longer texts. The small x-height and the restrained forms lend it a distinctive elegance. Brandon Grotesque is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Brandon Grotesque won the TDC2 Award, 2011.

Start from my love to vintage motorcycle culture, i am really glad living in this era when vintage motorcycle is now being such a lifestyle. People can express their self through the motorcycle, completed with the fashion and style itself to make their characters and personal branding appear stronger. It can open the new social circle, the community, to those who have the same passion to it. Based on that situation, i try to contribute to the scene with making a typeface that brings the personality of it. So please welcome, Sparkplugs. A vintage biker style font with the strong serif style and bold body. Comes up with the sans-serif too, just in case you need a pair. Handcrafted carefully for your vintage branding, rebel fashion stuff, clothing brand, as long as they're on it, get ready to rockin' all the way!

Gazi is the honorary title given by the state to the commanders who defeated the enemy by showing extraordinary benefits. This title was first given to Mustafa Kemal Atatürk by the Turkish Grand National Assembly on September 19, 1921. Gazi font was designed for Mustafa Kemal Atatürk, who founded the Turkish Republic. This type face consists of two families:: ▪ Gazi: Font family with Latin alphabets ▪ Gazi Pro: Font family including Latin and Arabic alphabets The Gazi font family is ideal for those looking for a new and aesthetic serif font. This font with modern lines can be used in all broadcast and printing areas. Gazi font will meet your needs and expectations in terms of the number of glyphs and the languages it supports. The font family includes many open type features, as well as some ligatures, and many currency symbols.

Cherubina means ‘Blessed’. It is a name derived from the Akkadian “karabu / kuribu”, meaning “blessing, blessed”. A cherub is a type of spiritual being mentioned in the Hebrew Bible, often depicted as a baby with wings. This font was based on the hand lettering I found on a 1962 Japanese poster for the movie “Mother Joanna Of The Angels”. The poster was designed by Hiroyoshi Oshima. Cherubina font is an all caps font (upper and lower case differ and can be used together) with a medieval feel to it. I tried to keep the ‘spirit’ of Hiroyoshi Oshima’s lettering, but changed the glyphs and designed most of them myself, as I had nothing but the title of the poster to work with. I have added some ligatures as well. Comes with my blessing and an eternity of diacritics.

DF Korolev is a 72 weight geometric sans serif family based on lettering by an anonymous Soviet graphic designer from the propaganda displays at the Communist Red Square parade in 1937. It has been named in honor of Sergey Pavlovich Korolyov, or Korolev, considered by many to be the father of practical astronomics. Rational and robust, it is also elegant and refined. Tracings done in Illustrator over a photograph featuring this type pinned down some of the basic character shapes. These were then imported into FontLab, where the full glyph complement was developed. The lower-case has been designed from scratch, and adheres to the structural logic of the uppercase as closely as possible. The complete Korolev super-family includes standard, italic, condensed, and compressed versions, each in five weights. The Alternate families come with a double-story “a”. Authoritative yet friendly, Korolev Rounded is a versatile addition to the Korolev range.

A long lost Art Nouveau wood type from the Hamilton Museum Collection evokes the excesses of Victorian design and the equally quirky 1960s Psychedelic era revival of the Victorian type styles. Free flowing organic designs that flourished with Art Nouveau in the late 1800s were directly referenced and further distorted with with phototype in the late 1960s. This design, known as Arabesque, was produced by the Morgans & Wilcox Co. and the Wm. Page Co. as almost identical designs. Both manufacturers were acquired by Hamilton and offered briefly by Hamilton as design #618. This curious wood type defies most of the basic tenets of type design and what comes to mind when one thinks "wood type". Many characters have a lively eccentricity that were all left true to the original design. Additional characters were designed to fill out the standard range of characters found in digital fonts. This font includes over 280 characters for full unicode support of Western and Central European Latin characters.

The Arial® Nova family takes Arial back to its roots. Character spacing has been adjusted and a number of subtle modifications were made to the design to return the shapes and proportions to those of the original 1982 design created for IBM's then new high-speed laser printers. Although these first Arial fonts, called "Sonora Sans" by IBM, were low-resolution bitmaps, it was apparent that the design could also be an important high-resolution digital typeface, and Arial was redrawn for Monotype's imagesetters in the late 1980s. In the process Arial evolved from its original design loosing some of its earlier personality. The restored Arial Nova family is made up of three weights of roman design of standard proportions and three weights of condensed - all with complementary italic designs. The Arial Nova family is also compatible with the fonts that Microsoft® provides in the Windows® 10 operating system.

Celestina is the lively spirit, just like drops of ink on a piece of paper or clouds in the sky. The same spirit is maintained by the rounded letters of the script and by the characters' small whorls. Celestina has come to life as a result of a peculiar game in which I tried to bring together the letters with different tempers with help of calligraphic instruments. I wanted to create a very light and playful font which would look like a quick inscription on a piece of paper, but would also be easy to read in a text array. As I was working on the font, my cat Celestina has been very interested in the brush painting process, and I had no other option but to name the font after her! Celestina works perfect for both Moomins stories and personal blogs, as well as for the design of hand-made things, and even just then when you want to put yourself into a good mood!

Waltowns is a dynamic and expressive typeface that captures the essence of street art with its bold and energetic design. The letters are characterized by organic shapes, reminiscent of marker strokes on urban surfaces. The font exudes a raw and brave vibe, reflecting the spirit of graffiti culture. The font includes a diverse set of characters, allowing for creative and eye-catching compositions. Whether you’re designing posters, album covers, or any other graphic project, Waltowns inject a sense of urban attitude and artistic edge. Its versatility makes it suitable for a wide range of applications, making your designs stand out in the crowd. Waltowns is not just a font; it’s a statement. It represents expression, the vibrancy of the streets, and the bold creativity that defines graffiti art. Use Waltowns to bring a touch of urban authenticity to your design projects and let your creativity run wild on the walls of the digital world.

A typeface originally inspired by a wall lettering in a small chapel on Crete, Greece. Despite its experimental character it works nicely in a text environment. Crete is perfect for display use where a feminine and elegant touch is desired. The unusual serifs and terminals add to the graceful appearance in the Thin and provide a more robust feel in the Thick. Both weights are metrically interchangeable, so text will not reflow when mixed. The accompanying Italics have several different lettershapes and therefore have, in some cases, their own widths. However, they sit comfortably next to the uprights. The style names refer to the change in serif weight instead of increasing vertical stem widths. Crete features our Basic Extended character set including four sets of numerals, ligatures. fractions, superior/inferior numerals and language support for over 40 languages that use the Latin script. Crete was selected as winner of the Granshan competition 2008 in the display type category.

In 1529, Geofroy Tory, French scholar, engraver, printer, publisher and poet, was publishing the well known so called Champ Fleury, printed by Gilles de Gourmond, in Paris. It is a fully illustrated handbook where the author explains how to draw Roman characters. The font used for the text - a Humane/Jenson type - was not a very beautiful one, but rough and ready, and the book is well known for its capital letters designs. We are offering here the two complete historical type sets and more -- we have entirely redrawn the lacked letters: J, U and W, Eth, Lslash, Thorn and Oslash in the two initial forms. The text font, 1529 Champ Fleury Regular is now containing all characters for West European (including Celtic), Baltic, East and Central European and Turkish language, and the Initial set 1529 Champ Fleury Init is containing two complete alphabets, with a very great effort to be as close as possible to the original pictures.