"Sweet Christmas Monogram" is a script monogram font with a Christmas theme. This font is very beautiful with a variety of Christmas decorations equipped with a large logo in the form of a very amazing Monogram letter. This font is perfect for Christmas, New Years, invitations, and many other types of work. This font is very complete, because it is equipped with uppercase and lowercase letters, uppercase alternates, lowercase alternates, swash and titling, ligatures, monogram, multilingual support, numeral and punctuation. How to use this font is very easy and there is also a guide for its use in the preview.

This time the font's name is meaningless. Maduki doesn't mean 'cool' in Swahili, nor does it mean 'cup cake' in Sranantongo. It is just a nice name. Maduki is a playful font, created with one of my 2 year old son's marker pens (the 'no stain, wash-out' variety), a couple of cups of coffee and a whole bunch of 'speculaas' cookies. Now you're wondering what speculaas is, right? I'll tell you later - in a couple of fonts... Anyway, there's not much meaningful to say about Maduki font. It is nice, it is cute and it comes with alternates!

Designed by Ryul Davidson, this typeface is a special style for designers who prefer a sense of space and differentiation in the layout system. It applies a design concept that continues the modern and contemporary grotesque lineage. And, It adopts a somewhat low x-height system and has a classic and sophisticated balance. As the height of lowercase letters is lowered, more differentiated and rhythmic typography can be realized, and it showcases a wide range of coverage from offline publishing to display areas. The elaborately optimized kerning system is a good choice for designers who prefer more professional logos and editorial designs.

The Brightside is hand lettered font with multilingual support. It is ideal for t-shirts, magazines, phone covers, social media, restaurant menus, greeting cards, invitations, weddings, headers and many more. This brush font comes with a two complete sets of lowercase and uppercase characters, a large range of punctuation ligatures, numerals and and multilingual support. The Brightside includes a set of Upper and Lowercase characters, numerals and lot of punctuation glyphs and 1 alternate for each character. The Brightside Font comes with automatic ligatures. For access to Stylistic Alternates is required software with glyphs panel like Photoshop, llustrator, Inkscape etc.

The Yasmine type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Yasmine employs four fixed x-height values, two above and two below the x-axis. Values are high to give a slight vertical overall look. Its design uses full curves with equally distributed weight. Yasmine family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our “natural Arabic input” method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Yasmine family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Amudi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Amudi employs four fixed x-height values, two above and two below the x-axis.. Values are high to give a slight vertical overall look. Amudi family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our “natural Arabic input” method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. it Amudi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Alardo is intended for branding that is synonymous with sports. The initial character was built in bold with a bold personality, but thin strokes and flowing italics provide a flexible and unique family series. Glyphs are made in low contrast strokes, short ascenders and descenders, and low caps.

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Minicomputer is an exceptional typeface that pays homage to the antique look of computer fonts from the mid-20th century. It is a magnetic ink typeface, characterized by a versatile range of seven weights and italics, which is perfect for graphic design themes. Minicomputer also includes OpenType fractions and numeric ordinals, as well as an array of mathematical symbols that can add depth to any design. With its OpenType old-style numerals feature, Minicomputer enables users to evoke the original MICR E-13B numerals, the very numerals that were once used in bank checks. Back in the 1950s, the MICR E-13B numerals were printed in magnetic ink and were associated with the innovative technology of the time. But that didn’t stop Leo Maggs from creating Westminster, a typeface that emulated the look of the MICR E-13B. Soon after, dozens of magnetic typefaces appeared and quickly became fashionable. By the 1980s, home computers emerged, and the once fashionable magnetic typefaces became outdated. They were replaced with pixel fonts and dot matrix typefaces, which gave a fresh look to digital designs. However, designers today are reviving the magnetic typeface trend in a new context. Magnetic typefaces are now associated with a vintage look that has a unique and synthetic feel and an association with 1960s fashion trends. Despite the half-century since the first magnetic typefaces appeared, designers had limited choices when it came to using them, mainly having to rely on digitized versions of analog fonts from the 1990s. Minicomputer offers an exciting and modern take on the magnetic ink typeface and is a must-have for any designer or writer looking to add a touch of the past to their work. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

TT Jenevers useful links: Specimen | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Jenevers: TT Jenevers is a modern serif with Dutch flavor. The font family features the characteristic details peculiar to Dutch serifs—these are the asymmetrical shape of serifs and an irregular slant of ovals. For example, in the letter “o” there is no slant, but it is present in p-q. In TT Jenevers, both lowercase and uppercase characters are of a large size, which makes it a rather display typeface. At the same time, the big half-ellipse of the lowercase characters does not allow the letters to stick, which allows the implementation of TT Jenevers in text arrays. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. TT Jenevers font family consists of 12 fonts (6 upright and 6 true Italics), each of which has more than 830 characters. The typefaces include small capitals for Cyrillic and Latin alphabets, 33 ligatures, standard and old-style figures, stylistic alternates, arrows, hands, and card suits. We have prepared two dissimilar stylistic sets, which allow changing the nature of TT Jenevers to a more hand-written one, or adding a futuristic touch to the typeface. FOLLOW US: Instagram | Facebook | Website TT Jenevers OpenType features: ordn, case, c2sc, smcp, frac, sups, sinf, numr, dnom, onum, tnum, pnum, lnum, liga, dlig, salt, ss01, ss02, zero. TT Jenevers language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Komi-Permyak, Komi-Zyrian, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luba-Kasai, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Maltese, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Talysh (lat), Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsakhur (Azerbaijan), Tsonga, Tswana, Turkish, Turkmen (lat), Udmurt, Ukrainian, Uyghur, Vastese, Vepsian, Volapük, Võro, Vunjo, Welsh, Wolof, Xhosa, Zaza, Zulu.

The Lanston Christmas Ornaments collection has a definite nostalgic feel for classic Christmas and Winter iconography. An indispensable set for the Christmas season, they are perfect for custom card creation or any other winter holiday graphics. LTC Christmas Ornaments One features over 80 images. LTC Christmas Ornaments Two-Part features over 30 of the same icons found in LTC Christmas One, but they are set up for two-color combinations. LTC Holly Leaves are available in one and two part for endless holly leaf combinations.

Introducing Heroid, the typeface that’s as powerful as a superhero! With its bold and daring letterforms, this font is guaranteed to make your design stand out from the crowd. Heroid comes in both regular and bold, so you can choose just how much of an impact you want to make. And with a selection of alternate caps, you can customize your design even further, making it truly one-of-a-kind. This typeface is so strong, it could punch its way through a steel door! So why settle for a plain, boring font when you can have Heroid, the typeface that’s as heroic as you are. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura , Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to ExtraBlack.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders Company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, Old style Figures, and italics. Caslon Open Face first appeared in 1915 from the Barnhart Bros & Spindler Foundry, and is not anything like the true Caslon types despite the name. It is intended exclusively for titles, headlines and initials, and looks elegant whether used with the more authentic Caslon types or by itself.

CA Normal is a typeface aiming for beauty without ostensible effects, merely relying on clarity and well balanced proportions. True beauty is not to be found in perfect geometry, so slight irregularities and inconsequences are spread throughout the typographic image. That’s perfection through imperfection. CA Normal merges influences from European grotesques and American gothics, breeding an experimental mongrel. The underlying concept stays in the background, giving the design a great self-evidence. Although it is doubtful if there can be such thing as neutrality, CA Normal comes pretty close to what people mean when speaking of a neutral font. Nevertheless it’s not faceless, anonymous or confound able. It’s just that the charm comes from subtle details rather than obvious design features. As good text typefaces must not be too smooth nor too agitated, CA Normal is smuggling little uneven details into the typographic image, that keep the readers eye awake. The well crafted oblique follows the grotesque tradition which knows no individually drawn italics. A rather unexpected addition is the reverse oblique, a style mainly used for maps. Under the classic surface lies a modern well equipped font, featuring small caps, a Central European character set and numerals in all kinds of flavors. Numerous ligatures round up the overall impression. By default CA Normal will set numbers as proportional lining figures. But if you prefer oldstyle figures, or tabular figures, just use the OpenType functions of your layout program. These allow access to the small caps as well, which feature a complete central European character set, brackets, punctuation and lining figures in small caps height.

Introducing Bleck Stome Is a Layered fonts of retro style, with Bleck Stome Give your typography design a touch of retro style, Bleck Stome is one of hand lettering project. It was very inspired from the famous retro typography designs, Bleck Stome also comes with extra Extruded Font version. So you don’t need extra effort for create an extrude effect for this font. This mean it will saves your time. With Bleck Stome Font it suitable for Logotype, posters, business cards, merchandise, wedding invitations, greeting cards, banners blogs, clothing, water-based paint designs / prints, correspondence, quotes and more! . Bleck Stome Comes With 480+ Glyphs and OpenType Features are also added to this font. The Features includes: Stylistic Alternates, Swashes, Ligatures, and Stylistic Set. You can pick the alternate for all style Bleck Stome has given PUA encoded (fonts with special code). If you have any questions,please contact me at: malindocreative@gmail.com. Feel free to contact me, I am happy to help you. 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. How to access alternate glyphs? you can see it on this link goo.gl/1vy2fv Thank you for your kindness and support,it’s not hidden,what you see in preview is what it contains, Hopefully Useful, Good Luck For You, And Love You All.

Termit is a striking display font designed with a game theme, featuring large letters with a fairly thick weight and a rectangular shape with sharp corners. This font shows large letters that demand attention and create a bold statement. The rectangular shape with sharp corners in Termit adds a sense of structure and stability to the font. The clean lines and defined angles create a visually bold and impactful appearance. This unique feature evokes a sense of strength and resilience, reflecting the competitive and strategic nature of the gaming world. Each character shares the same height and width, creating a cohesive and pleasing visual experience. With its low-contrast design, it offers a subtle and understated look. The minimal variation in stroke width adds a sense of uniformity and simplicity to the font, allowing the overall design to take center stage. This feature ensures that the focus remains on the content while still maintaining a strong visual impact. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Termit fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other game-themed projects. 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.

Introducing Hirosaki Japanese Typeface Style inspired by Japanese letters, which have uniqueness and very thick characteristics that make all designs look unique and have a modern Japanese feel. Hirosaki has its charm, so it will be very suitable to be combined with any style. Have ligatures to add an excellent interactive feel to each design. Hirosaki is also equipped with multilingual support and is very easy to use. Hirosaki is exciting to use in formats such as books, film posters, logos, branding, business cards, and many more that can be combined with Hirosaki. Supports languages: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Igbo, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Metaʼ, Morisyen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Thai, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Wolof, Yoruba, Zulu Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you, and have a nice day

Sticky Melody is a charming display font that combines cuteness with a bold and prominent style. With its thick weight, rounded shapes, and distinct contrast, this typeface is designed to capture attention and infuse your designs with a playful and lively energy. The thick weight of Sticky Melody gives each letter a robust and substantial presence, making it stand out effortlessly. The rounded shapes add a touch of softness and friendliness, creating an endearing and approachable feel. The font's unique feature lies in its prominent contrast, which accentuates the curves and contours of each character, elevating the overall visual impact. Let the thick weight, rounded shapes, and prominent contrast of this font bring your creative visions to life, ensuring that your message stands out in the most charming and captivating way possible. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Sticky Melody fits in children's books, toy packaging, posters, headlines, logos, social media designs, and any design project that require a touch of delightful playfulness. 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.

Get in the swing with Metairie. This high-contrast script from Jeremy Dooley sets the rhythm for your next headline or short phrase with its fresh, expressive forms. Metairie’s (sometimes exaggerated) scrawled letterforms play on the colorful world of calligraphy to bring you a fully developed personality of its own. Inspired by elixirs and pharmaceuticals of the 1800s, this design has forms that dig down deep to the soul. It brings a unique, vibrant feel for your next message. The typeface supports all major Latin languages, and the expanded OpenType capabilities let you slide elements easily and quickly into your design. Metairie also includes a number of distressed options. Improv a bit, too, with Metairie’s decorative ornaments, variations on the fleur de lis. Ornaments and tails are accessed through the glyph palette or using the Swash function. An extensive set of ligatures gives you more options for humanizing the handwriting on the page. Then take it up a notch by using the glyph palette to find the perfect solution for project. You have full access to this amazing capability with InDesign, Illustrator, QuarkXpress and similar software. We recommend that you explore what this font can offer by using the glyph palette. Get a glimpse of ​​the font’s strength by looking over the brochure in PDF format in the "Gallery" section. Ready to step in? Take a stab at your next design with Metairie. It could be just the color you need.

For some time, Eric de Berranger had wanted to create a distressed typeface design - one that gave the appearance of antique printing and showed signs of wear, yet was still highly readable. He was busy designing a new face called Maxime, when an idea struck: I realized that I could use these lettershapes as the basis for my antique typeface," he says. The two faces ended up being designed in tandem. While ITC Oldbook clearly captures the flavor of aged, uneven and imperfect printing, it also meets de Berranger's goal of being exceptionally readable in text sizes. Beginning with well-drawn characters was the key, and these were carefully modeled into the distressed forms. "The process was more difficult than I originally thought," says de Berranger. "The antique letters had to be tested and modified several times to work correctly." ITC Oldbook elegantly simulates antique printing in both text and display sizes. And while stroke weights are uneven and curves are irregular, the design has remarkably even color when set in blocks of text copy. Add to this the design's inherent legibility, and ITC Oldbook acquires a range far beyond replication of things old; it's suitable for any project that calls for warm and weathered typography. ITC Oldbook is available in roman and bold weights with complementary italic designs. Small caps, old style figures and a suite of alternate characters and ornaments provide additional flexibility and personality to the design."

Huai and Huai Thai marks the first professional typeface release by Potch Auacherdkul and represents the culmination of research into the duality of influences between handwritten, vernacular Thai lettering and Latin typefaces. The result is a warm, expressive typeface that doesn’t abandon the human hands and the language that produced them. With Thai script, there are two different terminal styles—the Loop terminal style, associated with the original forms of Thai glyphs; and the Loopless, which has evolved to best coordinate with Latin sans serif typefaces. In recent years, this Thai Loopless style has continued to influence and even change to become ‘more Latin.’ One would go so far as to define these heavily Latin-influenced typefaces as Thai Latinized. This curiosity with shifting influences, turns the idea around and explores what would happen if the vernacular Thai scripts actually influenced their Latin counterparts instead. An Inversion of Thai Latinized is the result. The street signs of Bangkok, local vernacular writing, quick, fluid strokes… these influences form the DNA behind the Huai Thai typeface. Refining and systematizing those natural, handwritten strokes into a Thai typeface and then using those solutions to serve as the pioneer proportions behind the development of its Latin script companion was the product. Huai adopted the essence of these Thai glyphs into the Latin and uniquely embraced the contemporary writing system (and soul) of the Thai people in its letterforms.

Lycia (Lycian: 𐊗𐊕𐊐𐊎𐊆𐊖 Trm̃mis; Greek: Λυκία, Lykia; Turkish: Likya) was a geopolitical region in Anatolia in what are now the provinces of Antalya and Muğla on the southern coast of Turkey, bordering the Mediterranean Sea, and Burdur Province inland. Known to history since the records of ancient Egypt and the Hittite Empire in the Late Bronze Age, it was populated by speakers of the Luwian language group. Written records began to be inscribed in stone in the Lycian language (a later form of Luwian) after Lycia's involuntary incorporation into the Achaemenid Empire in the Iron Age. At that time (546 BC) the Luwian speakers were decimated, and Lycia received an influx of Persian speakers. Ancient sources seem to indicate that an older name of the region was Alope (Ancient Greek: Ἀλόπη, Alópē). Lycia fought for the Persians in the Persian Wars, but on the defeat of the Achaemenid Empire by the Greeks, it became intermittently a free agent. After a brief membership in the Athenian Empire, it seceded and became independent (its treaty with Athens had omitted the usual non-secession clause), was under the Persians again, revolted again, was conquered by Mausolus of Caria, returned to the Persians, and finally fell under Macedonian hegemony upon the defeat of the Persians by Alexander the Great. Due to the influx of Greek speakers and the sparsity of the remaining Lycian speakers, Lycia was rapidly Hellenized under the Macedonians, and the Lycian language disappeared from inscriptions and coinage.

The original Frutiger typeface was designed in the early 1970s by Adrian Frutiger and his studio for the way finding system of the Roissy Charles de Gaulle airport in Paris. Soon after the airport was opened, a huge demand for the typeface arose from companies wanting to employ it in other signage systems, as well as in printed matter. The Frutiger typeface came out as part of the Linotype library in 1977. Epitomizing functionality and clarity both in signage and as a bread-and-butter typeface in print, Frutiger became a modern classic. Neue Frutiger® is the 2009 version of the Frutiger typeface family. It was revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. While Frutiger Next, the 1999 revision, introduced a new concept (including a larger x-height, a more pronounced ascender height, narrower letter-spacing and, most notably, an italic with calligraphic traits), Neue Frutiger returns to the original 1977 design. The result is a well-balanced range of 10 finely-graded weights. Despite the various changes, the ‘New Frutiger’ still fits perfectly with Frutiger and serves to harmoniously enhance the styles already in existence. Neue Frutiger Variable are font files which are featuring two axis and have a preset instance from UltraLight to ExtraBlack and Condensed to Extended. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints, Best Fonts for Tattoos

The late-19th-century Prussian-American printer and publisher Louis Prang, the “father of the American Christmas card”, was well-known for his efforts to improve art education in the United States. He published many instructional books and even founded a training school for art teachers. One of the books he published included a series of alphabets for sign painters, lithographers, illuminators, architects and civil engineers. There was nothing truly original there — in the book’s preface, Prang says that the alphabets were “based on foreign forms and adapted for American taste”. The one alphabet that caught my attention in that book was one simply called “Italic”. It’s a high- contrast modern, a Didone really, but with an interesting little twist: the lowercase is almost entirely connected, which makes for an interesting mix of modern typography and classic calligraphy. That stuff is right up my alley now. Whenever my eyes happen on a modern, it’s easy, even almost impulsive for me to envision swashes coming out of serifs and terminals. The caps melt and the minuscules dance with them. And so I brought my vision to life. Prangs is an italic set of three weights, each containing more than 1400 glyphs with plenty of OpenType features and Latin language support. This set celebrates the convergence of three centuries of fancy display alphabets. These fonts should work wherever moderns are used to elevate and scripts are used to appeal — namely today’s branding, packaging and glossy publications.

ITC Chivalry is a calligraphic hybrid that honors the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an old world" feel with "new world" legibility. A companion set of black letter caps completes the suite of characters. "I've loved drawing letters for as long as I can remember," says Leuschke. "Even in kindergarten, I tried to draw letters like my teacher." After graduating from college, Leuschke worked for a short time at a sign company in St. Louis, and in the early 1980s began working at Hallmark Cards in Kansas City. His talent as a calligrapher and lettering artist eventually brought him back to St. Louis to begin a freelance career. Since then Leuschke has created over 250 fonts, primarily for the greeting card industry, that are now being used on work for his clients all over the world. Leuschke first conceived of the face as just the black letter caps; he later added the Roman letters to give the design more versatility. The Roman caps of ITC Chivalry combined with the lowercase are well suited to blocks of copy, while the more decorative black letter caps are ideal for showcasing short text of just a few words. Both sets of capitals also make great initial letters."

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

FF Kievit Slab is an industrial strength, do anything, go anywhere, kind of design. Its exceptional legibility and straightforward strength contrasts with a friendly humanistic underpinning. Michael Abbink and Paul van der Laan carefully revised character shapes and stroke contrast of FF Kievit, when they adapted them to FF Kievit Slab. The result is that the striking and powerful FF Kievit Slab easily complements the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Serif, and stands on its own in as a multi-talented design. Though created from the sans, FF Kievit Slab is not FF Kievit with slabs serifs tacked on. The family is the fruit of a four-year collaboration between Abbink and Van der Laan, to make the perfect companion to the FF Kievit family. Each glyph was painstakingly adjusted and to achieve proper density, contrast, and balance, while remaining a perfect companion to its sans serif and oldstyle cousins. Its nine weights and italics also harmonize perfectly with the original FF Kievit design. Each of the FF Kievit styles is a typographical all-rounder that is equally at home in headlines as it is in text copy. Together, the three designs of the FF Kievit super family span a wide and deep typographic universe in which they support one another perfectly. These fonts will help you achieve your typographic goals, no matter how lofty. Featured in: Best Fonts for Websites

Addition to the collection of TypeType display fonts! TT Espina useful links: Specimen | Graphic presentation | Customization options TT Espina is a display antiqua with expressive serifs. Inspired by the historical shape of the letter O, which took on a diamond shape due to print quality, the designers created a modern typeface with high contrast between horizontals and verticals. TT Espina is yet another proof that antiquas can be stylish and expressive display fonts suitable for modern projects. TT Espina will look harmoniously in headlines of posters or billboards, in gallery and exhibitions design, in large-format printed materials or on websites. The font is easily distinguishable among other antiquas by its high contrast, expressive and large serifs, closed aperture and diamond-shaped circles. TT Espina’s characters are quite narrow, which adds to the materials designed using the font a special aesthetic. It makes you to look closely into each letter, so the headlines set in TT Espina will definitely be read. A full set of different icons is a nice addition for designers who will work with a new typeface. TT Espina consists of 7 typefaces: 6 romans and 1 variable. Each typeface has 648 glyphs. The font family has 21 OpenType features, including changing the shape of some characters (Q, g, j), the possibility to replace characters with high-set diacritics with characters with low-set diacritics, which is convenient for poster design.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

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.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

Daenerys is a thin, elegant signature font that is perfect for a wide range of design projects. It has a delicate, calligraphic style with smooth, flowing lines that give it a sense of grace and beauty. The letters have a slight slant, which gives them a hand-written feel, making it suitable for invitations, wedding stationery, and other special occasions. One of the most striking features of this font is the abundance of swashes. These are decorative flourishes that extend from the letters, adding a unique and ornate touch to your designs. The swashes come in a variety of shapes and sizes, and they can be used to add emphasis to specific letters or words. This makes the font perfect for creating elegant, eye-catching titles and headlines. The lowercase letters have a unique and modern touch, The uppercase letters are more formal and elegant, making them great for headlines and titles. Daenerys is a versatile font, it's perfect for branding, packaging, and web design. The thin lines make it easy to read in small sizes and it's also great for overlaying on top of other design elements. Overall, Daenerys is a beautiful and sophisticated font that can add a touch of elegance to any design project. Daenerys features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +274 Total Glyphs +40 Signature Swashes

A very popular grungy font, now made even more useful! With this Pro version you have the possibility to tone it down a bit - I have made alternate letters without swashes (use the OpenType Swash feature to switch them) and without so much bleed (use the OpenType Stylistic Alternates/ss01 feature). And then you can turn it up again by adding six different swashes to any letter! Write { or after a letter to add a swash to the right side, _ will add one below. Added fun and language support! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing Mother Serif Typeface - 5 fonts Mother is named after all the moms and children left behind. This typeface is feminine, fragile typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Mother is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs ab ac ad ae ag ai al am an ap ar as at au ba be bi bl bo br ca cc ce ch ci cl co cr cs ct cu da de di do dr ea ec ed ee ei el em en eo ep er es et eu fa fb ffb fh ffh fj fk ffk ft fft ga gi gl gn go gr ha he hi ho hy ic id ie il im in io ip ir is it iv ka ke la le li ll lo lu ma me mi mo mp na nc nd ni no nt oc od ol om op or os ot ou pa pe pi po ra rc rd re ri ro sh si sm sp su ta te th ti to tr ts tt ul um un ur us ut ff fi fl ffi ffl st alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Looking to add a touch of vintage charm to your designs? Look no further than PRINTF, our stunning display typeface that draws inspiration from the telegraph, teletype, and computer printers of yesteryear. With its all-caps design and unique letter pairs, PRINTF offers a level of realism that other typefaces simply can’t match. Whether you’re working on a retro-themed project or just looking to add a touch of nostalgia to your designs, PRINTF is the perfect choice. And with its distinctive look and feel, this typeface is sure to make your work stand out from the crowd. So why wait? Try PRINTF today and experience the power of vintage computer design for yourself. Just be sure to turn off your application’s “standard ligatures” function to get the full effect. With PRINTF, the possibilities are endless! Most Latin-based European, Greek, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

When it comes to effective communication in the world of high-technology, every detail matters. Your message needs to be clear, concise, and precise. That’s why you need Zosma, the purpose-driven typeface designed to mirror the sleek lines of today’s hi-tech hardware. With Zosma, your designs will have the perfect balance of form and function. The stark precision of this typeface will convey your message with clarity and power, whether it’s on a product label or in a user manual. Zosma comes in three weights and italics, giving you the flexibility to create a variety of designs that perfectly match your brand’s aesthetic. Plus, with its techno letterforms and industrial style, Zosma is the perfect choice for any company looking to showcase its cutting-edge design prowess. So if you’re ready to take your designs to the next level, get Zosma today and start creating with confidence. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.