Enocenta is fully featured script face. Like a wild, untamed beauty in the moonlight, Enocentaís flowing calligraphy dances across the page. This contemporary typeface is not slavishly devoted to convention, and instead it defies it repeatedly. The face has bit more character than most high contrast script faces and attracts your readers eye. This spicy and flavorful collaboration between Jeremy Dooley and Cecilia Marina Pezoa. Enocenta is a five weight script typeface that offers a variety of options for you to design beautiful things. Enocenta is friendly and warm, and it's hairline weight is simple and clean while its bold is strong and draws attention. Its contemporary appearance is right home on the web or wherever your canvas may be, whether that is packaging, magazines and invitations. It's also a fantastic choice for branding and can be quickly converted into a distinctive logo when applying its options to customize the look and feel so the brand is unique. Enocenta is packed with alternates, swashes, ligatures, and also other techy perks. To discover its complete feature set, please use it with software that supports OpenType options for sophisticated typography. There are a number of purchase options for the face. The Pro fonts are loaded with the full set of alternates, ligatures and ornaments. The Standard types are contain no decorative alternates but are an affordable starting point for designers that don't need the full features.

Black Scream is a spine-chilling serif display font designed to send shivers down your spine. Set in uppercase, each letter is meticulously crafted with a haunting ink dripping effect, adding an eerie and nightmarish vibe to your horror-themed designs. The letters of this font exude an unsettling aura, as if they were dipped in darkness and let ink slowly bleed down the page. The ink dripping effect adds a touch of realism and dread to the font, as if it were forged from the depths of a chilling nightmare. On the other side, the serif details of Black Scream add a sense of elegance to the font, contrasting with its nightmarish appearance. The fine lines and precise curves create a mesmerizing yet unsettling effect, making it a unique and captivating choice for horror-themed designs. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Black Scream fits in headlines, logos, horror movie posters, haunted house flyers, Halloween party invitations, any spine-tingling project, branding materials, print media, editorial layouts, website headers, and many more. 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.

“Quercus” is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Fushar Arabic is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin A-Z all caps, Arabic, Persian and Urdu with 230 ligatures, European, Arabic and Persian / Urdu localized digits, punctuation, currencies and other symbols - the total of 729 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic alphabet. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include required ligatures, discretionary ligatures, proper mark attachment, contextual alternates, case-sensitive forms, ordinals, localised Persian/Urdu numerals, superscript (1, 2, 3) & fractions. Now you can buy Extended Latin character set (uppercase and lowercase) at Fushar font family page on MyFonts. European languages, Vietnamese and Pinyin included.

This typeface departs from the antiquated and orthodox image of the clerical script and offers a flat, simple design. With little trace of brushstrokes, it is a modern take on the clerical script that is often used for TV captions. 古くオーソドックスなイメージを持つ隷書体に対し、フラットでシンプルな書体を目指しました。TVテロップにも使用される、毛筆の名残を極力なくした現代風デザインの隷書体です。扁平で運筆が特徴的な正統隷書体に比べ、やや扁平を緩和し、毛筆の名残を取り除いた新しい隷書体です。現代的にアレンジしているものの、隷書体の雰囲気は保っているので、かなが入った文章でも漢文のような印象に組むことができます。毛筆さび（にじみ・かすれ）や運筆を極力除いていますが、隷書本来の筆の動きや字形を生かして簡略化しているので、隷書体の雰囲気は損なわれていません。

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration – particularly its weight and width proportions – can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out – the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears. Upon finishing the serif version, a Serif-serif variant called Dederon Serif was added. The construction principles are also derived from the Old Style Roman model, which lends the lettering its open, humanist feel. Yet the design also conforms to the rules of the modern Serif serif. Most characteristics of Dederon Serif match the serif version – the weight of individual cuts, the width proportions, x-height, ascenders' and descenders' length, and the slope of the italics. Each version of Dederon Open Type Std contains the standard Western Latin character set and the Central European characters; a number of basic and accented ligatures, small caps; old style, small caps and caps, table, fraction and superscript numerals; expert glyphs and alternative characters. This brings the total to a comfortable 820 glyphs per weight, permitting truly professional use in the most demanding projects.

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears. Upon finishing the serif version, a sans-serif variant called Dederon Sans was added. The construction principles are also derived from the Old Style Roman model, which lends the lettering its open, humanist feel. Yet the design also conforms to the rules of the modern sans serif. Most characteristics of Dederon Sans match the serif version — the weight of individual cuts, the width proportions, x-height, ascenders' and descenders' length, and the slope of the italics. Each version of Dederon Open Type Std contains the standard Western Latin character set and the Central European characters; a number of basic and accented ligatures, small caps; old style, small caps and caps, table, fraction and superscript numerals; expert glyphs and alternative characters. This brings the total to a comfortable 820 glyphs per weight

Mackay is a powerful transitional serif in 6 weights plus matching italics, designed for screen and print. The eccentric serifs on uppercase letters like E, F, L and T are inspired by Alexander Kay’s “Ronaldson” from 1884, working as the starting point for the family. The lowercase letters follow the traditional Antiqua model with attributes tracing back to drawings from the early 20th century. The “grotesk” lowercase a, as well as the sharp lowercase s, derived from the closed shapes of uppercase letters like C, G or S, create a compact and bold appearance while a large x-height and small descenders add a modern look. In favor of a dynamic and elegant impression, the design of the italic cuts come with a strong calligraphic influence. This results in completely new shapes for letters like lowercase a or g, ensuring a smooth integration into their surrounding letters while maintaining a distinctive appearance when combining with romans. The family comes with a variety of opentype features like case sensitive shapes, old style figures, fractions, ordinals and many more. Additional attention was given to the standard and discretionary ligatures, extending the structure of the basic glyphs with elegantly designed letter combinations for g/i, i/t or s/t. According to their dynamic architecture, the italic weights are equipped with additional initial swash characters to subtle accentuate the calligraphic roots. As a result of a high stroke contrast the family works great in paragraphs with medium to large font sizes like headlines, short paragraphs or logos. With its 12 cuts, the family meets all requirements on high quality typography.

Italiano Fushion is part of an expanding project on which we have been working for several years and is the colors ersion of ITALIANO FUSHION. Starts from the study of the great Futurist adventure of the early 1900s by great artists such as DEPERO and MARINETTI, who twisted the world of typography with shapes and colors. Italian Fushion is made up of almost 2,000 glyphs for each weight and in addition to hundreds of alternatives mainly, such as initials and endings of each word but also different alternatives for the letters I, J, Y. Thanks to the characteristics of Open Type, you can change them in automatic many of the alternatives, use it as a simple text font by changing only the I's and J's that have the typical capital dot, and giving the text a more fun breath to the composition. Italiano Fushion is suitable for large texts and to get the most out of it it is compulsory to transform the text into UPPERCASE text using the tabs of graphic applications such as Illustrator, or activate the Alternavive tabs and the various options of SS. You just need do a sandwitch between the 1 ( on the top ) and the 2 ( on the bottom ), choose the 2 different color and you hae finished. by transforming them into traces you can enrich the interaction between the two levels with nuances of pleasure. If you would like to be above layer 2, you can make the text parts transparent without swashes. Ideal for creating Logos, Head Lines, Web Titles, Posters, Epub Covers, Tatoo Projects, T-Shirts, Drink Labels ...

Crypton is a modern geometric design by Alex Kaczun. It’s an alternate style variation based on his popular Contax Pro family of fonts. The look is clean, smart and sophisticated—the chiseled end strokes reflect the rage of the 1980s; lettering that represented something to do with electronics, computers and outer space. It’s a futuristic sans-serif exploration of shape and form. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong and dynamic—it can be widely used in publications and advertising. Crypton is a futuristic, techno-looking and expressive typeface with the appearance of machined-like parts—round geometric shapes and sharp edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Hi, Everyone! Ready to make your branding spark? If you need to create a big, bold logo for your business, work on a poster for an event, or whatever your project may be-then this is the perfect font for you. Mirava Sans-A Sans Serif Font Family If we can give you many options then why not? Mirava San is a package that will delight you. With this family you will get many options to maximize your designs with stylish fonts. This font designed to bring your branding to life and add a touch of modernity, fun and style. Mirava paves the way for you to write the information you need to send out to your audience. Perfect to create amazing headings, logos, menus, social media graphics, and many more. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Alexander Lettering is a handwriting font that captures the wild and choppy essence of a sloppy signature. With its childish and fast-paced strokes, this font gives off a sense of spontaneity, making it perfect for projects that require a less formal and more playful touch. This typeface was created by exploring the unpolished side of handwriting, drawing inspiration from the hurried notes and scribbles that often accompany our everyday lives. Alexander Lettering embraces the imperfections of the human touch, giving your designs an authentic and relatable feel. 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.

Introducing Kronix, a geometric, futuristic font that embodies the essence of technology in the digital age. Kronix combines sleek lines, precise angles, and contemporary design elements to create a visually striking font perfect for technology-themed projects. Its clean and minimalist letterforms embody the essence of modernity and sophistication, capturing the attention of tech-savvy audiences. With its crisp edges and precise spacing, this font creates a harmonious visual rhythm that adds a touch of elegance to any design. Kronix is versatile and adaptable, making it suitable for a wide range of applications, including websites, mobile apps, and branding materials. Its modern aesthetic aligns perfectly with the fast-paced advancements in technology, allowing your design to stay relevant and visually impactful. Whether you're designing a tech magazine cover, creating a sci-fi movie poster, or developing a high-tech product packaging, Kronix is the ultimate choice for adding a geometric, futuristic flair that captivates the imagination and elevates your design to the forefront of modern technology.

MN Grissee - a Sans Serif Super Family Font. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! 436 Glyphs 9 Opentype features 10 Ligatures, Stylistic Set and Swash 3 Widths (Condensed, Normal, Expanded) 8 Weights (Thin, Extra Light, Light, Regular, Medium, Semibold, Bold, Extrabold) 2 Styles (Regular & Italic) Support Multilingual for 89 languages We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Thanks for your support of our product and using it in your project.

I am (trying to) learn Danish using an app on my phone. The grammar and vocabulary are not that difficult, as the Danish language is very close to the Dutch language. The pronunciation, however, is quite tricky. Words look simple when written down, but when pronounced, they sound very different. Take ‘pige’ (‘girl’) - it reads ‘pee-guh’, right? Well, it is pronounced ‘pee-uh’. Or how about ‘brød’ (meaning bread)? If you keep in mind that the o-slash is pronounced as the ‘i’ in bird - almost like ‘uh’, it should be br-uh-d, right? Wrong again. It is pronounced br-uh-l. Aaargghh! I will succeed, hopefully! Utroligt is a Danish word meaning ‘incredible’. It is a nice, uncomplicated all caps font. I made it with a cheap rollerball pen and some nice French paper. Comes with double letter ligatures and all the diacritics you’d like - including the danish ones.

Velo leads layouts with a grand tour champion’s panache but is also a hard-working design domestique for text-heavy applications. Superelliptical shapes and sturdy serifs will keep pace with contemporary culture with an aesthetic agility that will never go out of style. Velo Serif includes sixteen fonts: Twelve display styles ranging from thin to black with complementary italics and four text styles designed for longer settings. Velo Serif Display features an increased x-height for more illustrative headlines while Velo Serif Text maintains a readable cadence in high word count environments. Typeface design by House Industries, Christian Schwartz, Mitja Miklavčič and Ben Kiel. FEATURES Text vs Display: Velo Text maintains the distinctive style of its Display siblings, but is enhanced for optimum legibility in running text settings. Key ligature combinations keep headlines and running text flowing smoothly. Velo Serif Text includes a complete small cap alphabet to add another typographic dimension to your layouts. Select Velo Serif figures include illustrative alternates to display numerical superiority.

The flower children of Canada Type are at it again. This time we went above and beyond the call of duty and right into the land of reconstruction in order to make this font. When we saw a few letters from an early 1970s film type called Jefferson Aeroplane, we had the sudden urge to bring their beauty to digital life. But since further research revealed no more letters or information, we just had to "wing" the rest of this Aeroplane. Now this Genie is out of the lava lamp, and it's nothing short of groovy. A few symbols and alternates come within the font, so make sure to check out the very full character set. We love this font so much that we couldn't help but play with it for a week. Some of the Wes Wilson-inspired results are in this page's gallery, so check them out for a flashback. Keep on trucking!

Back when OpenType hadn't yet opened and Apple was developing the Line Layout Manager called GX Typography I created a test font that I name after my stepdaughter, Kristen (now ITC Kristen). Not wanting to offend my wife I started on a font project and gave her name to this new set of glyphs, Roberta. Unfortunately, the name was already in use so I needed to find another name for the fonts. After September 11th I decided that there were people I'd met during my life who were truly cut from the cloth of the hero. Master Sargent McLemore of the 75th Ranger Battalion was one of these people. I met the Sarge when I was in basic training at Fort Gordon. I saw him 2 weeks before he died in 1970. All of the heroes we see on the silver screen pale in comparison to this man. John Wayne and Clint Eastwood both have played the type well, both could have taken lessons from the Sarge.

A common creation: (to pass from one hand to the other): For the first time, various hand-signs from diverse sources are unified into one single visual style. This compendium is the result of 15 years of incubation and 7 years of creation. In his travels throughout the world, graphic designer Jean-Benoit Levy, principal of the visual studio AND, has collected pictures of multiple hand signage. Uncertain what to do with those signs, he kept them year after year until the idea came to unify almost 200 handsigns into one single family. In accordance with this entire collection, the name of the typeface is a mix: "h-and-s". A global collection: (To put in good hands): We all have one thing in common: Hand-signs are an international language, they are meant to be understood by all of us. Each of us regularly comes in contact with modern hieroglyphs such as the hand-sign-codes that are so prevalent in our daily life. This way of communication belongs to no one in particular and to all of us in general. Even if the sense of certain signs varies from one culture to the other, there is a common hand-sign language. We are surrounded by this language of handsigns each time we step in a store, we eat, open a container of milk, we clean up, use package of wash-powder, by shaving, when we work, use tools, at home, by tearing the envelope of a condom, by traveling, etc. When we encounter these signs, we all understand them easily. A visual connection: (To go hand in hand): This typeface is a global visual statement. Collecting, ordering, redrawing, unifying. Reconstructed and assembled into one original alphabet, H-AND-S is a unique and complex signs program. Our choice is based on daily gestures and global hand-codes. Logically this typeface starts with the "American Sign Language" and expands on two type-variations, each on two levels of keyboard. The international team of H-AND-S would like to send his special thanks to all of the anonymous graphic designers throughout the world who designed different hand-signage and who influenced and inspired to create such a sign collection into one unified family. We, the global nomad team of AND, hope that you will enjoy our H-AND-S. Additional Credits Production: Studio AND. www.and.ch. Concept, Idea & Creative Direction: Jean-Benoît Lévy, Switzerland / USA. Research & Sketches: Eva Schubert, Germany. Illustration, Graphic Design & Visual Fusion: Diana Stoen, USA. Transfer, Adaptation & Refining: Moonkyung Choi, Korea. Finalization & Checking: Sylvestre Lucia, Switzerland. Coaching & Technical Advice: Mike Kohnke, USA. Creative Energy & Implementation: Joachim Müller-Lancé, Germany / USA.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

Jesus Saves is a font based on the familiar old logo that has “JESUS” hidden within a maze-like set of multi-branched vertical bars. The characters appear to be an alien, cryptic language at first sight, perhaps even a Japanese, Chinese, or Korean language, thanks to the unusual figures created by the combinations of various letters. It is a teaser for the eyes, as well as a visual feast of De Stijl-type art. It is an attention-getting font that is cool to look at, an eye puzzle that is enticing to decipher. It’s a great font to use for striking logos (see Gallery Images) by the judicious use of ligatures, where in word settings ligatures may be used at the beginnings of words, the middle or the endings of words. Jesus Heals is the missing spaces from the Jesus Saves font, sort of like a doughnut hole font! If you use this font to fill in the spaces in the Jesus Saves font, it becomes whole, or healed, thus the name. Jesus Lives is a raised block/3D or three dimensional version of Jesus Heals. For color combinations in apps that support layering, Jesus Lives synchs and has perfect kerning register with Jesus Heals, as Jesus Heals has with Jesus Saves. The digitization was done by fontmeister John Bomparte.

Duvall is an idealization created from the Edward J. Duvall lettering. Mr. Duvall was a teacher in lettering, who was well known for his book “Modern Sign Painting” in the late 40s and early 50s. Duvall cursive script is presented in five weights, Duvall 1, as a light version, to Duvall 5 as a bold version, and Duvall Style a decorative typeface with Inline, ideal for set in color layers combined with Duvall 5. Duvall is a Script font with low contrast, not intended to be used as a type of reading, but is however well adapted to small sizes because its simple form is easy to read. It is advisable to use this font for large to medium sizes. Duvall is ideal for composition, ordinal, superior and inferior numbers, and thanks to the OpenType features you can compose with alternate characters, old style numbers and with a complete set of glyphs for Eastern and Western European languages. The Duvall set comes with a font called Duvall Ribbons, a dingbats font with which you can create interesting headlines with the taste of the advertising of the 50s. Duvall FunWords is a dingbats playing with funny words in English, French and Spanish phrases. Duvall is ideal for packaging, signs, banners, branding and graphic design in general and can be combined harmonically with your favorite sans fonts.

Some time ago I bought my smallest book ever: Kate Greenaway’s Alphabet* 57 x 72 mm. I thought it was the sweetest little book I had ever seen. Not knowing about the fame of the designer Kate Greenaway (1846-1901), I put it in some dark drawer and looked at it from time to time. Kate’s books were all outstanding successes in English publishing history; she was an icon of the Victorian era. Some of those books are still being reprinted today. This little gem I had accidentally acquired has become very rare and I have not found any reprints yet. So I thought maybe I could adapt her drawings for use on today’s computers. I ventured to redraw her delicate illustrations, blowing them up 300 percent, being forced to simplify them without losing her touch. It took quite some time! While redrawing them, I discovered that she most certainly drew them in at least three different sessions as well. Then I scanned my drawings and put them in a font. To make the font more usable, I added the ten numerals in Kate’s style; the original does not have those. I hope she would have liked my adaptations. Yours in a very preserving mood, Gert Wiescher. * Kate Greenaway’s Alphabet, edited by George Rutledge & Sons, London and New York, ca. 1885.

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher was a long-time teacher of design with many years of practical experience as a graphic designer. He named Rotis after the small village in southern Germany where he lived. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.

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.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

Harri Text is more than an extension of Harri. It shares its origin, a certain flavour and a great deal of its idiosyncrasies, but while Harri is an uppercase-only typeface intended for display uses, Harri Text is conceived as a text type family, including a new extra-light weight, italics, small caps and other additions that make it suitable for editorial purposes. As its predecessor Harri Text addresses several concerns regarding the dualism neutrality vs. idiosyncrasy, or in other words, how local features meet global design in the context of a modern society (as is the case in the Basque Country in recent times). The origin of Harri Text —vernacular Basque lettering for the most part— is full of idiosyncrasies and peculiarities that, while giving them its special character, may hinder readability in some cases. The default set in Harri Text tones its essence down a little bit. It is still present, although less obstrusive. Stylistic sets 1, 2 and 3 are a chance to recover gradually this essence modifying some characters —specially the characteristic design of letter A– for those who seek a more local flavour. Stylistic set 4, on the other hand, does the opposite job, this is, removes asymmetrical serifs and other small details in order to create a more neutral atmosphere. Any traces to its origin are this way diluted resulting in a crisp and clean incise variant. Stylistic set 6 is available in the italic styles. It provides a more fluid and cursive flavour to some letters in case a calligraphic mood is desired. Harri Text comes with 1054 glyphs in its character set (1078 in the italics) with support for more than 220 languages.

Chef Script is an experimental font designed by Carlos Fabian Camargo G. Its fantasy design contains 1463 glyphs to compose words, phrases and short messages on small and large sizes. The idea was born in a sketchbook that was perfected again by hand and achieving "non-neutral drawings" on tracing paper. With bezier digitization the empty and full parts of letters appeared with soft and eloquent curves as calligraphic result produces optimal readability. Chef Script combines warmth and good humor running in countless design applications such as labels and base plates, covers, posters, movie titles, seals and any printed design that needs an unusual typographic tool. In that sense, Chef Script is influenced by Speedball lettering manual (1957), Ross F. George. The illustrative nature of "ChefScript-complete" does not look anything like the traditional type design hierarchies. Therefore offers 7 hierarchical resource groups to design comfortable contexts flavored with illustration and typography: • ChefScript-Basic: Letters with horizontal and vertical thrifty proportions mimic an uninterrupted calligraphy brush made with flat tip. Thus its letters have ascenders and descenders strokes perpendicular to its base line and equal to the height of the lowercase. • ChefScript-Swashes: Letters expressive and unique flourishes to design highlighted words or phrases. • ChefScript-Caps: Uppercase with lowercase height give the impression of interrupted uppercase italics writing within what is written with uninterrupted lowercase letters producing strong contrast within a paragraph fragment. • ChefScript-Containers: Container drawings designed to exchange with infinite possibilities each order so that its inferior serve to store information written or drawn. • ChefScript-Dingbats: Pictograms that communicate: kitchen, chef, restaurant, food, etc. • ChefScript-Numbers: Bulky and useful numbers to highlight prices or figures containing points or dollar signs. • Chef Script-Words: Predesigned words with uninterrupted letters diagonally leveled highlighting various thoughts in writing.

High atop the mountain of fonts, a new structure has been raised--one solid and strong against the challenges of time. Civane is a victorious conqueror among fonts, standing above the clutter and the mundane. Its firm structure joins effortlessly with graceful calligraphy in a new flowing, inscriptional typeface. Civane is inspired by monuments of great civilizations, whose lofty inscriptions remain chiseled into the very stones and columns of their structures. The font’s medium contrast with its flared stroke ends lead the reader to feel the solemn presence found in these great obelisks and shrines. Even Civane’s thinnest weight holds a quiet power over its audience. Still, its classic lines provide a beautiful flow between the strong letters, allowing the reader’s eye to move easily across the page. Civane supports OpenType features and comes with upright italics, alternates, ligatures, old-fashioned figures, titling and small caps. Preview all these features in the interactive PDF manual. The font family has 48 fonts, with three widths and eight weights. The font family also includes glyphs for 72 languages; over 550 glyphs per font stand ready for you to command throughout your design. Civane is built for advertising and display typesetting as well as title and small text, making it an excellent choice for websites as well as flyers and packaging. Use it for defining your brand or for creating designs that evoke academia, militaria, monuments, automobiles, signs, and so on. Its 48 well-designed fonts are well-equipped to help you leave your mark on history. Production assistance from Lucas Azevedo and ikern.

Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline. Alternate letters ‘A’ & ‘S’ are provided. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension. Advertisers Gothic became quite popular because it was effective. It can work equally well for a flyer advertising a non-profit event as for a magazine product ad. This font refuses to be a wimp. Use it boldly. Advertisers Gothic ML represents a major extension of the original release, with the following changes: 1. A total of 335 glyphs (compare) with added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt ˜ with total 13 lookups. 3. Added 209 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

It's been said that creativity requires ten parts to perspiration to one part inspiration. But not always. According to its creator, Mira Vucko, ITC Needlescript was designed in one breath." An accomplished lettering artist, Vucko was sketching letters one afternoon. "I was using a calligraphy nib and was drawing the alphabet without much thought," she recalls. "When I allowed the down strokes of a couple of letters to fall below the baseline, I realized that I had created the impression of movement. I kept drawing letters in this fashion and did the same with horizontal lines. I added a firm ending to the descenders. Instead of dots above the 'i' and 'j,' I placed strokes in the opposite direction." In this way, the first characters that were to become ITC Needlescript emerged. The finished design is a lively, distinctive alphabet that produces a striking texture on the page. Letters intertwine and overlap to create a sense of movement and graphic intensity, especially when reversed out of a dark background. Vucko lives, works and was educated in Zagreb, Croatia. She lived in France and Sweden while in her twenties, but then returned to Croatia to work as a graphic designer for the country's largest newspaper. It was here that her passion for type and typography was born. Vucko has since gone on to become one of Croatia's leading graphic designers, and has won many awards for her advertising and packaging design. Vucko recommends that ITC Needlescript be used for "titling, lively but 'thorny' content, and anywhere that a little typographic drama is called for.""

Quarca's masculine power runs strong across the page with bold self-assurance and a raw energy that courses through its thick veins. Don't think the continuous, smooth geometry of this semi-modular face is captively chained to the grid, though. Quarca has been cautiously optimized to engage the reader's eye. Achieving an attractive balance to its sturdy design, the open forms of this "rounded square" geometric sans -together with a tall x-height- make the font legible even when using the compact widths. This high-impact typeface definitely doesn't sacrifice versatility for style. These compact widths, with their raw heart and strength, are perfect for callouts, while the extended widths provide you with the platform for a punchy and extremely efficient headline. The font has a thinner weight and transcends to an intense bold. The face's geometric or technological construction also tends to make it right at home on the web. The family consists of 36 fonts -six weights plus italics. Where Quarca truly stands out, though, is its wide number of OpenType typographic choices and optional glyphs, allowing you to design your piece with a personal, one-of-a-kind variant touch. These variations consist of Experimental Capitals, Angled Capital Terminals, and "Future Stencil". In all, you can find more than one hundred of these alternate glyphs. Quarca is well-suited for anything you are able to throw at it. Devised for today's multi-disciplined designer, this clear and infinitely versatile family provides tremendous value to your toolbox.