Haigrast Script is the light and thin handwritten font that brings a touch of fashion and fun to any project. Designed by Mans Greback in 2023, this signature script font is the perfect choice for designers looking to add a touch of personality to their work. With its cute and feminine design, Haigrast Script is ideal for wedding invitations, fashion logos, and other creative projects that require a fast, active and wild style. This font is perfect for those who want to make a bold statement in their design work. Whether you're creating a fashion magazine cover, a social media post, or a wedding invitation, Haigrast Script is the perfect choice for designers who want to make a lasting impression. Use underscore _ to make an underline swash. Example: Love_letter Use multiple underscores different underlines. Hand__________writer The Haigrast Script family consists of four high-quality fonts: Regular, Italic, Bold and Bold Italic 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 Northern 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.

Rusty Forest is a typeface that takes you back to the days of golden design, when travel and adventure were celebrated in striking posters. This font's rustic appearance, created by its brush-style strokes, evokes images of a cabin in the woods, surrounded by the beauty of nature. It's as if you can smell the campfire smoke and hear the rustling of leaves in the wind. This font is perfect for designers looking to add a touch of vintage charm to their projects, whether it be a poster for a national park or a logo for a wilderness-themed brand. Its 1950s-inspired style will transport viewers back in time to a simpler era, where the call of the wild was all one needed to feel free. The Rusty Forest family includes Bold, Italic, Bold Italic, and Regular, offer a range of options to suit different design needs. 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 Northern 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.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Klothilde is a handwriting font which came to life in one of my doodling sessions (I must admit I still doodle with pen and paper). The idea was to create a font which resembles writing with a quill on paper with exaggerated ball terminals. Sometimes there is too much ink which makes the letters fat and the strokes uneven. The paper soaks the ink resulting in blurred line crossings. The form gets blurry. On the other hand, when the quill runs out of ink the stroke gets thinner looking like the light version of Klothilde. In order to emulate the different looks, I created six fonts with a common skeleton but different appearance which can be altered seamlessly by using the Variable Fonts technology (e.g. in latest Adobe apps or CorelDRAW Graphics Suite) along the Weight and Blurred sliders. But even without, Klothilde can be used even in longer copy. Use it from 18 pt upwards, flush left with tight leading and intersecting ascenders and descenders. Due to extensive manual kerning, it gives your text an even colour. To my knowledge, Klothilde is one of the first script Variable fonts in different weights. No, Klothilde’s letters are not connecting. But I added a whole bunch of connecting ligatures which are simply activated by the ligature feature of your app. Even Microsoft Word can do that. Thus Klothilde comes to life, as it should be expected from a handwriting font. In order to add to variety there are additional glyphs for some critical initial and standalone letters. Repeating letter combinations like nn, mm or rr are avoided by replacing the second letter by an alternative form. All features are activated by the standard ligature feature. Ligatures are available for most European languages, some even in Cyrillic (some special Serbo-Croat letters included and accessible through localization or Style Set 08 features). Romanian comma-accent characters and ligatures are accessible through the OpenType locl feature. For the topping on the cake, I added an alternate ampersand (stylistic set 1) and asterisk (ss04), an alternate Cyrillic b (ss02) and t (ss03), a few fleurons, arrows and a skull (OpenType feature ornm), fractions (frac feature), circled numbers (ss06) and an interrobang (ss07) which result in exactly 900 glyphs in each of the six fonts. There should be enough to play with. Should you be missing a special character, do give me a hint.

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

American Christmas is a funky and decorative season's typeface. As a cozy winter script, it brings a festive touch to every word, with letters that seem to dance joyously across the page. Its bold flow is reminiscent of retro holiday signage, evoking a sense of nostalgia and warmth. This typeface is adorned with stars that twinkle like lights on a tree, adding a sparkle to your seasonal greetings. This typeface family is provided in three starry versions and one clean, and also comes with an extra symbol font for beautiful Xmas icons. Use parenthesis symbols () [] {} to make stars around any word. Example: {Xmas}[Songs] Use underscore _ after any word to make a swash. Example: Santa_ Multiple underscores make longer tails. Example: Yuletide____ The font is built with advanced OpenType functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. With American Christmas, Mans Greback has crafted a typeface that captures the essence of the holiday spirit. Each character is designed to convey the excitement and heartfelt connection of the season, making it an ideal choice for those moments when you want your message to be wrapped in the warmth of the holidays.

Every font designer has their own favorite font type, which you do not need to find as it takes too much time to figure it out for you until you can match it with a perfect font. Ringtail has the best answer to your needs. Ringtail is a font containing two font types to use together or separately: sans serif and script fonts. Sans serif font has firm, modern, simple looking lines without curvy edges. Meanwhile, the script font has curvy lines in water paint or ink textures. The textures are extra lines added to each letter and to the background letter patterns. A textured script font looks more artistic and more detailed than the other ordinary script fonts to show elegant, romantic impressions in your designs. Additionally, script font can be applied for adding extra visual contrasts to designs with sans serif font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Ringtail fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, 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.

A typography can often be a deniable, yet crucial factor in designs’ displays and nuances. Additionally, it may be hard to find prominent, elegant, catchy fonts, whereas customers can easily forget designs without the right typography and remember nothing about your brands. Even the most interesting designs will look dull and too ordinary with inappropriate fonts. Therefore, we would like to introduce you to the Stay Calm, the perfect font option to create prominent designs. Stay Calm is an elegant, prominent display serif font to attract everybody's attention. It has bigger and thicker font proportions than the other ordinary serif fonts as its character to ease people to see it in big text sizes. Such unique characters as curvy thin lines and big, protruding dots, make this font suitable to create unique, interesting designs and applicable for bigger text sizes. You may also enjoy the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Stay Calm fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name 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

EngelNewSans is sans serif family of 12 weights and an upgrade of the typeface Engel also published by Die Gestalten Verlag. The project began with an extension to the original Engel character set and freshening up the typeface to suit the OpenType format. EngelNewSerif came about as a sibling to EngelNewSans as a corresponding serif family also of 12 weights, matching those of EngelNewSans. Both families are designed for a wide usage in running text and headlines. EngelNewSans is an evolved version of the original Engel typeface, which undergone improvements to the individual letterforms and the overall look which resulted in this sans serif type family with a more mature confident character and with softer, rounder and more harmonious shapes. The characteristics between the two could perhaps, very fittingly, be compared to a person showing different sides to their personality at different stages in life. With EngelNewSans portraying the more mature role while the original Engel shows traits of a cool teenager with rough edges, not yet fully developed. To make the light weights function with serifs attached for EngelNewSerif, the same low stroke contrast as seen in EngelNewSans was applied. Further discovery found that the serifs and the stem width had to be optically similar for the light weights not to appear too fragile. In the heavy weights however, the stroke contrast was higher than in the Sans versions, this was done to open up the counters and make room for the serifs to breathe. The intention of the families is to motivate an element of play and give the designer a larger selection to work with.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™, and Soho®.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™ and Soho®.

Square Technocrat is a sharp, geometric font that embodies the essence of structure and modernity. Drawing inspiration from cube-like forms and contemporary architecture, this font family is perfect for designs that require a strong, stable presence. The Square Technocrat font family comes in five weights: Thin, Light, Regular, Bold, and Black, giving you a wide range of options for creating impactful designs that demand attention. 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 Northern 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.

Golden Hopes is a modern signature typeface family. A high-quality handwriting font, it is perfect for creating signature logos and watermarks for your photography studio or a wedding invitation. Drawn and created in 2021, this lettering has a quick, optimistic style and a vivid personality. The script family consists of four handwritten styles: Slanted/Regular, Upright, Bold and Upright 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.

Miraikato Script is a rustic handwriting typeface. As a cute brush writing, its naive and happy movements brings out the optimism and genuineness in any project. It has the flow and elegance of a formal font, while maintaining the youthful enjoyment of a real handwritten text. The Miraikato Script family is provided in six styles: The weights Thin, Regular and Bold, plus each weight as Italic. 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.

Murality is a cartoon graffiti typeface. The letters are fun and friendly, with a happy personality and optimistic quirkiness. A street sans-serif style, Murality is drawn and created by Mans Greback, and is the perfect combination of cool and childish typography. This hip-hop styled comic typeface family consists of six styles: Regular, Thin, Black, Black Thin, Outline, Shadow 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.

Aisyah is a modern hand-based typography, This font is made up of irregularly flowing letters, both between top-down and with subsequent letters,which makes it suitable for Logotype, posters, businness cards, merchandise, wedding invitations, greeting cards, banners blogs, clothing, water-based paint designs / prints, correspondence, quotes and more!. Aisyah has given PUA encoded (fonts with special code). This Font Equipped: -Uppercase -Lowercase -Figures & Punctuation -Stylistic Alternatives -Ligatures -Language Support To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as, Adobe Indesign,Adobe Illustrator CS & CorelDraw X6-X7, Microsoft Word 2010 or later versions. Files include: Aisyah otf. -If you have any questions, please contact me at. malindocreative@gmail.com. -Thanks for support -Feel free to contact me if you have any questions, I am happy to help you

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

Sancoale is a new sans serif that is simple and geometric. It is a contemporary design that is distinctive and unique, but not too far outside the box. This makes for a typeface family that is very useful for many applications. The design is simplified without stems or spurs in the default character set. The OpenType alternates do include alternates with stems, and there are six weights with true italics. Please see the informative .pdf brochure to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Sancoale is a great choice for a professional designer that wants to achieve a simple but still unique look.

INTRODUCE ! Motting script - a new modern calligraphy font, fresh, cute, eye-catching, with a joyful heart. Great for greeting cards, branding materials, business cards, quotes, posters and more! Motting script too - includes lots of alternate characters. Encoded with Unicode PUA, which allows full access to all additional characters without any special design software. Mac users can use Font Book. Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor. For people with opentype-enabled software: Alternate can be accessed by turning on the "Alternate Styles" and "Ligature" buttons on Photoshop's Character panel, or through any software with a glyph panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape. Files include: - Motting script. OTF - Motting script. TTF Thank you for buying!

Introducing Perfectly Nineties – a brand new serif with all the nostalgic vibes! I've started seeing classic, tightly spaced serifs of the 80s & 90s making a comeback, and wanted to create the perfect one for you too! Perfectly Nineties is a beautifully nostalgic upper and lowercase typeface that looks incredible in both large and small settings as a display and body text. It's gorgeous used on its own, or paired as you see above with Aguafina Script (free from Google Fonts: https://fonts.google.com/specimen/Aguafina+Script ) One thing to note about Perfectly Nineties is the letter spacing. It was intentionally spaced for clean reading if you wanted to use it for body type, so I recommend setting the spacing a little tighter for display use (around -20 should do!).

Arando Script is a retro script typeface. A perfected calligraphy with uniquely beautiful letterforms, Arando Script is a professional quality handwriting font family. Drawn and created by Mans Greback in 2022, it is perfect for a formal restaurant headline or feminine logotype design. Arando Script is provided in four styles: Regular, Bold, Italic and Bold Italic, which compliment each other and maximise your options and design experience. 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 Northern 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.

This type family is a revival of the old and famous Frank Rühl from 1924. With less contrast the 2 weights make it more readable and pleasant to the eye too. OpenType Pro Excellent support for Niqqud (Vowels). All marks are programmed to fit each glyph's shape and width. OpenType Pro includes new advanced features like Dagesh Hazak, ShevaNa, Qamatz Katan, Holam Haser and wide letters. Best used with Adobe InDesign CC that support complex Hebrew text. Please check these advanced features in this link: https://tinyurl.com/ybgdsxme Font files were re-generated to get better online screen display, as well as refined OpenType features as kerning glyph substitution. Please be aware of minor changes that might impact page layouts done with older fonts' versions. So be careful.

Bubble Guts is a whimsical typeface with four fonts. It is one of the few of its kind that has both uppercase and lowercase options, allowing the user versatility and legibility at the same time. Its four styles, Normal, Italic, Shadow, and Extrude, allow for the user to create a bevy of visual effects. It has a retro feel that makes it great for animations, invites, branding, and social media! What you get Bubble Guts Regular Bubble Guts Italic Bubble Guts Shadow Bubble Guts Extrude This typeface supports 438 characters, and it supports most western languages! Layer these fonts to get all types of cool effects! Extrude is perfect for this; it allows for the user to fit the "Bubble Guts Regular" characters on top and create layers.

Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go. It may have felt right at home in the mid-1970s, the time of Sc-Fi, synthetics and disco, yet it unmistakably belongs to the present. Its dynamic sturdy forms and angular tapering of some horizontal forms convey movement and edgy impatience for change, with a few re-imagined details, like the reversed slant on top of the lowercase t and the atypical round counter of the lowercase a, showing a new hope for the bygone optimism. Available in five weights in Latin and Cyrillic, supporting many languages, with stylistic alternates and two sets of figures. Designed by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, 2020

Ekorre is a professional serif typeface. Drawn and created by Mans Greback in 2021, this creative font family has a vivid retro style and a strong personality, and is constructed with soft corners and flowing shapes. The letterforms express empathy, while retaining seriousness. It is provided in six complementing high-quality styles: Ekorre Regular, Ekorre Bold, Ekorre Black and each one as Italic. Ekorre is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic 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 Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Roadhouse is a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to Prohibition. Roadhouse reflects the style of lettering used on tavern signage and printed ephemera during the early 20th century. The family comes with 31 layering fonts, from top layers like bevels, highlights, stripes, outlines, as well as extruding and drop layers. It also includes 2 script fonts, upright and oblique, as well as 9 complimentary text fonts for smaller text settings. Either get the entire family of extrusions, bevel angles or the basic family with ready to use fonts that don’t need to be layered. Roadhouse is a great display typeface for logos, branding, packaging, and advertising.

Grand Atlantic is a powerful display package by Fenotype. It’s a genuine Brush script packed with features and Swoosh extras and it’s a striking condensed flared serif in two weights, designed with the same sharp edges on the flares as the Brush. Together they make stunning logotypes, posters or headlines. On top of that there’s a “Printed” version of each. Printed versions are the same but with rugged outlines and a print texture. Grand Atlantic is great for creating powerful identities for artisanal coffee brands, craft beer, organic juice or a sports teams. Grand Atlantic Brush is equipped with Standard Ligatures and Contextual alternates that help keeping the connections between letters smooth. They’re automatically on as you should normally keep them. On top of that Grand Atlantic Brush has Stylistic, Titling and Swash Alternates for standard characters if you need more ornamental letters and if you want to break up the rectangular word shapes. There’s even more alternates in the glyph palette, making it total more than 600 glyphs. Grand Atlantic Swoosh contains 52 shapes designed to go with the Brush. There’s many “terminal swashes” that you can put in the end of a word and it will connect to the last letter, and swirl under the word from there.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Everybody likes to have a picnic: some fresh fruits, cheese, ham, wine and so on. Like a “typographic picnic,” Typnic font system gathers many fonts with different flavors too, and you can enjoy them mixed or on their own. Typnic was drawn and calligraphed by hand and is made with eighteen typefaces, including three totally compatible yet different styles. It also has enhancement sets containing labels, dingbats, patterns and ornaments. The Headline style has six layered fonts that can be mixed in a wide variety of combinations to obtain powerful mastheads and headlines. It can be used to construct very nice advertising pieces. If you need to write informal texts, then use Typnic Script, which also comes in six variants and additionally has a complementary font with tails, double letters and ornamented ascenders. Finally, use Typnic Roman to add some secondary texts without losing the general appearance of your work. Typnic has a cool and natural feeling and could be used in all sorts of projects. Typnic is a very ambitious project and we will be working on it to further expand the whole system. Please check out our Typnic Headline Slab.

Kostic Serif is a classic transitional typeface (like Baskerville, Bookman, Caslon, Times) with tall, clean characters and a large glyph set to support all European languages - Greek and Cyrillic script included. Excellent for setting multiple pages of text and packed with OpenType features (proportional lining and oldstyle numbers, tabular figures, superscript and subscript, numerator and denominator figures, fractions and 31 ligature in 659 characters), it should meet the demands of even the most demanding typographic works. Kostic Serif is made with fairly large x-height, so the text is legible in very small sizes. Zoran began the work on Kostic Serif around 2002 and after completing Regular, Bold and matching italics, he wasn’t too pleased with the design, so he dropped further work on it to make other fonts. In 2010 Nikola came upon unfinished files for Kostic Serif, and decided to redesign the letters, while retaining basic proportions and widths that Zoran established earlier. When they were both pleased with the new look of the font, they made Medium and decided to add CE and Greek script to the glyph set, to make it pan-european.

After a lot of time sitting at my desk, creating fonts and trying to figure out how my new software works, I really like to work out a bit. The only thing that I do not like is the music they play at the gym; it is usually a selection of poppy tunes that appeals to a large audience. But not to me. I prefer my death metal - and eighties music, as it brings back a lot of good memories. So, I bought myself some ear buds and installed a music streaming app on my phone. Yes, I know, I am probably the last person on earth who discovered streaming... One day, during a workout session, I listened to a list of eighties music and one song that I had forgotten about started playing: Rappers Delight by The Sugarhill Gang. When I started working on the font, I had to think about the song and named it Square Beat. Square Beat font, other than the name implies, is a rounded, handmade font, ideally suited for books and magazines aimed at a young audience, toy packaging or posters. It comes with great language support, including Vietnamese.

The birth of the monospaced types dates back to the past. There was a need for the creation of typesets for typewriters. The difficulty was to align the different glyphs in the same width. This led to particular problems with letters like “M” and “l”; the former seemed to be squeezed into the same width of all letters and the second one appeared way too streched. Despite – or perhaps because of – the impression of the typewriter is still popular with Graphic Designers. Nowadays there are even monospaced versions of primarily proportional types; for example the the Sans Mono designed by Lucas de Groot or the DIN Mono. Then again, why not the other way round?! In the first half of the Nineties, Erik Spiekermann developed a proportional type named ITC Officina based on the Letter Gothic. According to a survey on the 100 best fonts of all time conducted by FontShop, ITC Officina is in an eighth place, far ahead of its forerunner. This was the reason for me to create a wider design with a Serif and a Sans Serif based on the queen of all monospaced types – the Courier.

Moodboard is a unique blend of hand-drawn and AI-generated design, bringing a fresh twist to the retro serif font. With bold rounded letterforms and a funky vibe, Moodboard is perfect for young-at-heart audiences. Its combination of sketch and machine learning makes it usable and versatile, while still retaining its cool new-retro feel. Use Moodboard in logotypes, headlines, and graphics for a standout, youthful look. Its designer Mans Greback has created an exceptional mix of vintage and modern design elements in Moodboard font. Choose Moodboard for your next project to add a touch of fun and boldness to your designs! The Moodboard family consists of six high-quality fonts: Regular, Italic, Light, Light Italic, Bold and Bold Italic 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 Northern 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.

Yesterday Night is a lively handwriting font that captures the essence of an active and cute brush style. This handmade calligraphy font is perfect for fashion projects, adding a sense of energy and excitement to your designs. The font family's handbrushed appearance brings an authentic, personal touch to your creative work, making it feel warm and approachable. The Yesterday Night font family includes four engaging styles to suit various design needs: Regular: A balanced and energetic style for everyday use Regular Italic: Adds a playful touch and a sense of movement Bold: Offers a bolder, more assertive presence for impactful designs Bold Italic: Combines the strength of bold with the flair of italic Built with advanced OpenType functionality, Yesterday Night ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. The font offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.