Prototype is a typeface with a very contemporary identity crisis—is it old or new? uppercase or lowercase? serif or sans-serif? Prototype tries to be all things to all people. There have been many attempts at creating a universal typeface, one that rationalises the alphabet and removes the inconsistencies of upper and lower case, applying an unreasonable logic to something that has grown organically ...and is already perfectly usable! Prototype was the same experiment carried out at a time when design was experiencing an identity crisis of its own—letterforms that try to be all things to all people but end up being something else entirely.

Challah is a display font containing 295 glyphs. Letters are very diverse, but because they contain several shapes characteristic for each other - they retain a certain coherence. When creating the font, the main inspiration was to take from the Brazilian graffiti trend - Pichação and Korean typography. Most of the letters are the same size and width, however, when designing, we also tried to include at certain moments small "surprises" that will surely interest and surprise the user of the above-mentioned typeface. The font fits very well into the urban structure, therefore it perfectly matches the art on the walls with the art on the billboards, creating a kind of dialogue.

Quintet is a narrow, stylized sans serif font made up of thin, looping lines. This font tries to walk the line between retro and modern and to incorporate some hand drawn imperfections without being too obvious about it. I kicked off designing without any particular inspiration in mind but, as time went on, started associating it in my head with an old-timey, swingy jazz aesthetic. So hopefully it captures the spirit of the Jeeves and Wooster throwback theme song and opening credits, the music of Stéphane Grappelli and Django Reinhardt (who the name is a nod to), and countless album covers from that era.

Max J. Gradl was a German jewelry designer. A Web search today turns up several examples of his work from the turn of the 20th century. He seemed to favor green stones in silver metalwork. Gradl also did advertising work and co-authored a book on architectural design. Most important for our purposes, though, are the incredible hand lettered alphabets and monograms the man left behind. I’ve digitized one of those delightful alphabets and tried to keep it true to the original. Beyond the base character set of letters, numerals and basic punctuation, I had to extrapolate forms that, I hope, hold true to Gradl’s design. Enjoy!

NewYorkerType was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it in, I just looked at the type and redrew it completely by hand. So it is not just a copy, but rather a redesign. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, but the best. Yours, sincerely honoring Rea Irvin a great type- and magazine-designer Gert Wiescher

Introducing Vigran Maroll Inspired by today's modern logo with a unique style but with an elegant shape. So we tried to do and create fonts as per the current market needs. VIGRAN MAROLL is perfect for BRANDING and LOGO DESIGN. You will get a classy, elegant, and of course aesthetic logo with this font. Besides that, this font has a unique ligature which is very suitable for various types of work such as posters, packaging, T-shirts, coffee shops, restaurants, magazine's headers, signs or gift/post cards, cafe's and weddings or any type of advertising purpose. if you have any questions, don’t hesitate to contact us Ergibi Studio

Except doodling on your notebook, what a better occupation would you have while the teacher tries to explain physics on the blackboard ? Create an awesome font ? Mathias is a font created in class by a lazy designer named Mathias. The result is one of the most complete font made by Bisou. Mathias font is retro. It will catch the attention of the reader in a blink of an eye. Exclusively recommended for titles, this bold font will suite perfectly your company name on a big truck, your old school car spare parts sign, the logo for a brand of cigarettes, alcoholics or shoe polish.

Inspired by today's modern logo with a unique style but with an elegant shape. So we tried to do and create fonts as per the current market needs. MISHELIA is perfect for BRANDING and LOGO DESIGN. You will get a classy, elegant, and of course aesthetic logo with this font. Besides that, this font has a unique ligature which is very suitable for various types of work such as posters, packaging, T-shirts, coffee shops, restaurants, magazine's headers, signs or gift/post cards, cafe's and weddings or any type of advertising purpose. if you have any questions, don’t hesitate to contact us Ergibi Studio

This font was created with inspiration from the wood blocks carved for chapbooks, posters, calendars or newspaper in the late 1500’s and early 1600’s. We have tried to keep their innocence and rough style. It has been conceived as an homage to the “Pilgrim fathers” landing in Plymouth Bay in 1620 and celebrating the first Thanksgiving with Native Indians in autumn, 1621. The font, consisting of two English capital alphabets (so, without any accented characters): Initials and caps, and a lot of separate figures added, is especially improved by strong enlargments, 72 pts and more, and has very good results when printed.

I created the brush font named "BrushType Standard" in my unique brush style. I made it for ad designers. I believe this is the only one brush font in the world, so using it will enable them to get easily satisfied on their work. Brush handwriting in Japan has a long and proud Tradition and History. I tried to interject this feeling of Tradition into my font designs for you to comprehend its true meaning. I trust I have succeeded to convey my feelings to you. In addition, I can say each letter of the "BrushType Standard" is truly art. I am a pioneer of Brush Art.

Oktah Neue is an extended version of a more limited Oktah family. Since its release in 2019, Oktah Neue received two major updates, the most recent in June 2022. The latest version of Oktah Neue is comes in 22 styles as well as one variable font. Oktah Neue inherits the best traits of Oktah—great legibility, simple geometric letters shapes, low contrast across all styles—but also introduces what Oktah fell short of: extensive language support and enhanced OpenType features. While working on Oktah Neue, we strove to create a neutral typeface that would be a workhorse for designers, typographers and other font users alike. Building onto the familiar shapes of Oktah, we tried to make them more neutral, at the same time preserving the unique character of the typeface. Certain characters remained the same, others have undergone a complete transformation, which left them better tailored for the wide implementation range of Oktah Neue. Over the past years the size of the character set in Oktah Neue was significantly expanded (currently standing at 2500+ characters). In addition to Extended Latin, new language systems (Extended Cyrillic, Greek — both Basic and Polytonic — and Hebrew) were introduced. The already vast Cyrillic set also includes localised forms for such languages as Bulgarian, Serbian and many others. Oktah Neue is OpenType friendly: it knows how to do alternatives, contextual alternatives, switch various between stylistic sets and adjust the height of punctuation and symbols as you type. Small Caps include all listed languages as well as numerals and symbols. Oktah Neue comes equipped with various styles of numerals — from standard Proportional Lining figures to Oldstyle, Tabular Oldstyle. Sub- and Superscript, Fractions and two sets of circled numbers. Oktah Neue is well-kerned with more than 3000 kerning pairs and automatically hinted. Oktah Neue comes in 22 styles (11 uprights and 11 italics), two of which — Ultra Light and Black Italic — can be downloaded free of charge to get a firsthand experience of what Oktah Neue is ready to offer. The latest update of Oktah Neue introduced a fully variable option: now, both axes (Slant and Weight) can be accessed in the same file for utmost convenience.

Based on ten characters found on the cover of a 1960s Blue Note jazz album. The source characters were originally designed for film-based typesetting by Wayne Stettler as part of a single typeface published by Visual Graphics Corporation (VGC) under the name Neil Bold. Mobley Sans, along with its condensed and serifed counterparts, constitute a brand new typographic whole molded around the original inspirational source. The family embodies the independent creative spirit of that era - yet manages to remain contemporary with several modern design traits - creating its own unique visual theme through the use of odd counters, generous curves and sharp corners. Mobley delivers your message in a bold, yet friendly, and subtly discerning fashion. Perfect for music artwork, packaging and book covers. Available with both sans and serif versions, in regular and condensed widths.

ITC Élan combines a gothic simplicity with elegance in a distinctive yet subtle typeface design. There is also a feeling of architectural strength which is derived primarily from an optically even line-weight and a sense of vertical stress. The small, almost Latin, serifs add distinction at both display and text sizes. The large x-height, minimum stroke variance, and open counters are ideal design traits for typeface legibility. Additional characteristics which distinguish ITC Élan are the splayed M" and bowls which do not quite close in the "a," "b" and several other letters. In contrast to the roman, there is almost a calligraphic playfulness to the italic. ITC Élan is the second ITC typeface from Albert Boton of France, who also designed ITC Eras. ITC Élan comes in four weights, book, medium, bold, and black, each with a corresponding italic."

Introducing "Magley" a font that effortlessly blends playful script elements with a retro charm, creating a nostalgic yet contemporary feel. This unique typeface doesn't just stop at capturing attention — it transports your designs to a world where every letter tells a story. Magley doesn't just bring letters to life; it introduces a dynamic trio of styles — regular, solid, and fun — adorned with patterns in fun styles that add an extra layer of delight to your designs. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Let Ark, an Art Nouveau-infused high-contrast serif, transport your designs into the realm of elegant psychedelia. Ark draws deep inspiration from Heinz Keune's Edda, a remarkable design from 1900. While its vibe might evoke the groovy 70s and the mesmerizing world of trippy album covers, Ark transcends any assumed historical shabbiness. It trims the style into a refined and neatly cut serif, suitable for gallery-worthy presentations, all while maintaining a strong and unmistakable connection to its original roots. The standard letters of Ark maintain a respectable demeanor, only scratching the surface of the font's psychedelic potential. To truly unlock its full potency, try the Swash or Stylistic Alternates, or dig for even more Alternates from the Character palette. Needless to say, that Ark is a natural match for anything trendy, artsy, wierd and fun.

JMTF Robin is a new post-modernist typeface in the spirit of Art & Crafts, born as a concept of a reformulation of a Gothic traditional building structure. Interestingly medieval structural architectural rescue form is for creating a font of traits absolutely contemporary without losing its artisan flavor. JMTF Robin is then a modular typography with very specific characteristics that provides an innovative texts while an appearance of great personality. Early versions of Robin was winners in Letras Latinas 2006. JMTF Robin representing a before and after in terms of contemporary texts composition. JMTF Robin is a typeface family that is presented in a wide variety of forms, from JMTF Robin in condensed forms to other roman proportions like Robin9, ideal for text, also JMTF Robin comes in Shadow and Double Outline. I dedicate this letter to creative genius William Morris father of modernism.

Plumper than a misguided Z-lister's dodgy lip job, this is Quinella, named after the cheffy scoops of ice cream and the like, quinelles. It's a cute, fat script with a seventies vibe but a personality all of its own. It's non-connecting in the usual sense, but the letters overlap to make the white space as tiny as possible. Ligatures (standard and discretionary) make smoother solutions for quite a few pairs and trios, and every upper case letter has a more exuberant swash alternate. The contextual alternates feature substitutes in an alternate t for a better fit with certain letters. Fonts don't come much more voluptuous than this. The full-fat, creamy appearance makes it perfect for food packaging, but don't let it end there; it'll make memorable logos, unmissable headlines, and posters with more punch.

Game over. Insert coin to continue. 1 coin, 1 play. Credits 00. Screener is the latest child of arcade alphabets. Not too trendy, not too retro, not too stand-out, yet clear and fresh. Although it boasts plenty of the traits of its origins (early screen technologies), it manages to maintain a balance between the elements of its 1980s origins and the mechanical yet transparent late 20th century techno/pop design. Precise and geometric, solid and strong, Screener looks great on screen as well as in print, in tracked small sizes as well as in teaser headlines. Screener comes in two widths and weights, with italics, and extra sets of symbols and numerals (enclosed, fractions, superiors, inferiors, etc.), as well as two weights of small caps. Screener is available in separate packages, or in a value package that contains all twelve fonts.

As a family, we love to go camping. We have a big Norwegian tunnel tent (4 season - with room for a wood stove), some really warm down sleeping bags and a primitive field kitchen. Even though our camping trips are usually devoid of luxury, the kids love them! We always choose campsites that are close to nature, like a national park or in the mountains. A couple of years ago, we toured the southern part of England and one of our camping stops was in Exmoor National Park. Minehead is a small coastal town, not far from where we camped, so I named this font after a fond memory! Minehead is a handmade display font. It was loosely based on Haettenschweiler. Use it for your packaging, your tourist information leaflets and your book covers. And do visit Minehead one day!

Mesquite is a narrow Tuscan-style typeface designed at Adobe in 1990. Like older Tuscans from the 19th Century, Mesquite has elaborate, creative serif treatments-although the serifs are so unique that it is difficult to call them serifs anymore, they are more like pointy finials. A convex-concave-convex ornamental feature appears on the middle of each vertical and diagonal stroke. Together with the serifs" at the tops and bottoms of each stroke, this feature creates a "tri-band" pattern over text set in Mesquite. Mesquite is not a text face. Aside from its narrowness and decorative qualities, Mesquite has no lowercase. The font's uppercase glyphs have been directly copied and placed in the lowercase range."

Whenever I've stayed in Munich my friend Michael Bundscherer and I go on a typographical expedition. When we talk about that, we remember the bygone world of sign painter. On one of the facades of a furniture shop in Munich, you can discover the lettering of the name in golden letters. This one convinced us because of the simple elegance Art Deco. These letters on the facade are in any case the character set, which forms the basis of this document. The missing (especially the lowercase letters and the numbers) were modeled. The "OPEN" called version tries to replicate the 3-D effect. The font is particularly suitable for shorter texts and headlines.

Mix Catchphrase is a fun and playful handwritten font that tries its best to be a serious serif (although it fails at being serious, in case you were wondering). With its clean handwriting style and serif details, this font is perfect for adding a quirky, DIY feel to your projects. Use Mix Catchphrase to give your designs a creepy edge, perfect for Halloween or any other ghoulish occasion. With the right styling and color palette, this rough and rugged font is sure to bring personality and character to all of your projects. Add some fun to your designs with Mix Catchphrase. MIX CATCHPHRASE includes the following characters: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>‹›:;'”,.|/?{}<>“”‘’-–—_ …©®™<>«»°¹²³ªº¡¿₱¢€£¥¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇ ÓÒÔÖÕØŌŐŒŔŘŚŜŠȘŤȚÚÙÛÜŮŰŪŲẂẀŴÝŶŸŹẐŽŻÞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñň óòôöõøōőœŕřśŝšșťțúùûüůűūųẃẁŵýŷÿźẑžżþß

Barbra is a display font family with unique letterforms and harmonization. It's bold, brutalist, gorgeus and emotional. While I developed Barbra, my mom passed away. It's broken my heart. So I tried to represent my mixed feeling in Barbra with the expressive curve in each letterform. Up and down, right to the left. The uppercase will make your headline stand out, fresh, and organic, even when you use it for your next logo project. While the lowercase is designed to make a harmonization when you put in words or sentences. FEATURES — Total glyph set: 246 — 4 Families (Regular, Italic, SemiCondensed Regular, Semicondensed Italic) — OpenType Features: — Lowercase — Uppercase — Ligatures — Numbers — Symbols — Diacritics — Stylistic Alternates

GoGipsy is a script font based on Coto Mendoza's modern calligraphy works created with the technical assistance of Luciano Vergara. GoGipsy is inspired by a magical journey—full of love, art and nature—through the Mexican Caribbean. GoGipsy tries to capture such incredible blend through gestures and calligraphy strokes, conveying freedom, expressiveness, strength and spontaneity. The family consists of four versions: regular, italic, drop and italic drop plus a set of ornaments based on the visual appealing Mexican textile art and embroidery full of colour and beauty. GoGipsy's baseline emphasises movement and rhythm. Have fun with OpenType features, swashes, ligatures and a wide array of initials. Go Gipsy! Each journey, new inspiration...

Torjus is so rigid and stiff typeface. While designing a more dry and stiff handwriting typeface, I tried to remove the Bezier curves. Rhythms were also created by dramatically simplifying the paths used in the Glyphs and emphasizing individual contrasts. 60 predefined Ligatures to bring your passion and inspire you to wonder. Ligatures : Ba, Be, Bo, Ca, Ce, Co, Da, De, Do, Ea, Fa, Fe, Fo, Ga, Ge, Go, Ha, He, Ho, Ja, Je, Jo, Ka, Ke, Ko, La, Le, Lo, Ma, Me, Mo, Na, Ne, No, Oa, Pa, Pe, Po, Ra, Re, Ro, Sa, Se, So, Ta, Te, To, Va, Ve, Vo, Wa, We, Wo, Ye, Yo, ee, ff, ll, oo, rr.

Josephine, named for Josephine Baker, the legendary dancer of the 1930s, is a twenty first century sans serif typeface that harks back to the earlier part of last century. Although very modern, it has been greatly influenced by the many art deco fonts produced during the twenties and thirties of the twentieth century.In it I have tried to capture the art deco spirit in a modern humanist font. Josephine is exceptionally readable and yet completely characteristic of the Art Deco period. It can be used for text passages as well as display in posters, advertising, labels and packaging. It is professionally finished and contains all upper and lower case characters as well as all special characters, punctuation and symbols.

Edito is a completely new bodycopy font. The special thing about this font is, that all serifs have the same height. So no matter if you take the thinnest cut (A) or the fattest (F), you will always have aligning serifs. I started Edito as an experiment. I tried to enhance the classic and sturdy Times font. But I soon dicovered, that it would be more efficient to take only the basic idea behind Times (the robust design) and start from scratch. It turned out a real solid and useful typeface for everyday use. In due time I will add a couple of extra cuts. Yours in a journalistic mood Gert Wiescher

For the long time I tried all new something related with handwritten. Something that can't be calculated, can't be estimated, can't be make sure the finished. Feeling is an elegant script that designed many character of each font and ligature that will show elegant taste when You use this font. Feeling can be use in many function for your requirement brands, for logo, blog, website, and all everything that related with letters.With more than 50 glyps of ligatures in this font, I’m sure You will more love with this font. How Feeling will show You like handwritten and looks natural but elegant in taste. Feeling also complete with language support for your requirement.

This font is my first attempt at typeface design. It is based on my own handwriting and I tried to maintain the natural quality, where the letters are quite loose, some going in different directions, thickness and position. It has Open Type features including contextual alternatives, stylistic sets and ligatures. Trying to maintain natural quality of handwriting each glyph has four styles which randomly appear when you type. For example, when there are double letters, the two letters are slightly different. You may also switch off the random feature and use the four styles on their own. The many alternates are best activated in OpenType-aware programs, such as Word 2010, Illustrator CS4+, InDesign CS4+ and QuarkXpress 7+.

Aeronic is a work of love. I stumbled upon a fantastic Japanese poster for Nikke Coat by Gihachiro Okuyama (1907 - 1981). Gihachiro Okuyama (also: Okayama) was a very prolific Japanese print artist who started his career making woodblock prints, but later moved on to posters and advertisements. I tried to recreate the hand lettering in the original 1937 Nikke Coat poster, but since I had to work with a few glyphs only, I designed the remaining ones myself. The outline of Aeronic is rather thin, with thicker bits in some glyphs. It is quite rough in places, but it all adds to its unique look. Aeronic comes with a bonanza of diacritics.

A few days ago, my good friend David from Hanoded.com visited me for a few days. We drank a lot of coffee and walked the streets of Copenhagen - we even took a trip up in Rundetårn! :) Well, on one of our walk (of course looking for inspiration for new fonts) we spotted this handmade sign. We agreed to make a font of the 7 letters available, using our own imagination and style! I called my font Mundbind DK and David named his Mundbind NL - of course it is the landcodes of Denmark and Holland. As you can tell, the font is uneven and somewhat unpredictable - following only the "rules" of the person who handprinted that sign ... and not many of the rules of the good old and respected painter who make beautiful signs ... however, this sign had it's beauty in a natural and innocent way.

Here’s what happens when your trusty felt tip marker takes a trip to cartoonland. Each of Valentina’s plump characters has a rough and splotchy texture. Some letters even bounce up and down like a 3-year old. As cartoon faces go, Valentina is a bit on the imperfect side. But that’s normal for a funny face. Use it in a variety of comical situations. Make convincing captions under your own artwork or design greeting cards with it. You can even blow it up to huge sizes to create a wild and crazy look. Valentina Medium is now available in the OpenType Std format. Some new characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Introducing "Sunday Artela," a font that effortlessly blends playful script elements with a retro charm, creating a nostalgic yet contemporary feel. This unique typeface doesn't just stop at capturing attention — it transports your designs to a world where every letter tells a story. Sunday Artela doesn't just bring letters to life; it introduces a dynamic trio of styles — regular, solid, and fun — adorned with patterns in fun styles that add an extra layer of delight to your designs. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

An uppercase font that has versatile character. Got a story to tell? Cowgirl can help you tell it. Includes western-themed vector illustrations handmade by Meg Burk. I grew up spending almost every family vacation as a road trip across the southwestern US. In these adventures, I fell in love with learning about the nature around us; deserts, mountains, plains, piñon trees, rainbow trout, black bears, eagles, and more. I fell into freezing cold white water rapids, explored long-abandoned cliff dwellings, camped under the Milky Way, saw old cave markings, stone markings, preserved art, and read many a many old map legends. These memories are visceral and the inspiration that I get from them permeates my every day. Take a piece of these stories with you and use them in your designs, too. Handmade, meant to last a lifetime and inspire others for decades to come.

The Sabon® Georgian design translates the original Sabon typeface into Georgian language. Its old style Latin-based design traits and proportions have been carefully and beautifully interpreted as Georgian script characters. In the early 1960s, a group of German master printers wanted a typeface family which would provide them with consistent and predictable results, whether it was used as machine or hand-set composition. They approached one of Germany’s most distinguished type designers, Jan Tschichold, to undertake the design task. The end result of the design commission is a typographic tour de force, and the face that establishes Tschichold’s reputation as a type designer. The completed design, released in 1966, not only solved the imposed design problem of the early 1960s, it is also an exceptionally beautiful and useful digital design. The Sabon® Georgian design further extends the range of this remarkable typeface

Letric is a high-energy capital typeface. With traits of a brush comic title, it has rough and cut edges, electric in nature but with smooth curves. The strokes are reminiscent of a tiger's skin, making for a great jungle or wildlife font. Used in the right context, with the right wording, it fits perfectly as a vintage thriller/splatter/horror movie header typography. This cartoon sans-serif is slanted/italic as default but also comes with a professional upright style. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The Absentia collection welcomes this modern serif option to broaden its typographic horizons and offer designers greater versatility. The new member shares the traits and proportions that sets this family apart, such as the truncated capital ‘A’ apex, the calligraphic ‘l’ and the distinctive ‘g’. Yet Absentia Serif adds its own personality to the mix, integrating forward-looking attributes into traditional letterforms. Laid out as bilateral or one-sided configurations, the transitional serifs help maintain a tight, orderly baseline. The balanced stroke contrast increases in the bolder weights and exudes an elegant appearance. This finely crafted typeface promotes legibility at the smallest sizes and makes it the ideal solution for body text. Available in ten weights with matching italics and two variable fonts, Absentia Serif is loaded with OpenType features such as stylistic alternates, fractions, superscript, subscript, as well as standard and discretionary ligatures.

Circus of Letters – Fancy Typeface Take a trip to the circus, exploring the colorful and playful world of our Circus of Letters Fancy Typeface. Inspired by vintage poster art, this set contains upper and lowercase letters, numbers, and tons of alternative characters, swashes, and multilingual characters. Circus of Letters is super versatile – it works great with simple designs or mixed with other fancy typefaces on more complex projects! If you’re looking for a cool, decorative font to add personality to your designs, look no further because you’ve found it! Circus of Letters features: A full set of upper & lowercase characters Numbers & punctuation Ligatures A ton of stylistic alternatives Swashes Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

Welcome to the world of Emory, the typeface that packs a gritty punch. With its sandpaper-like texture, Emory is perfect for those looking to add a tactile quality to their message. This easy to grip typeface is designed to be comfortable to use, yet its coarse texture will make your words stand out. Every letter has been crafted with care to ensure a unique look that will make your text truly one-of-a-kind. In addition to its distinctive texture, Emory also features bespoke combos that will automatically be substituted for common character sequences. This feature adds an extra layer of roughness to your text, ensuring that your message will truly stand out. Emory is available in four distinct variants: Regular, Italic, Bold, and Bold-Italic. Whether you’re looking for a subtle touch of texture or a bold statement, Emory has you covered. So why settle for a plain, boring typeface when you can add a touch of grit and texture to your message? Choose Emory and experience the power of grit! 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.