CHARACTERISTICS The fresh and unique character of the typeface are awesome BOOM! The letter-forms are associated urban graffiti tags and pieces. Many Dingbat symbols like microphone, tape deck, ghetto blaster, vinyl, etc. make this font really fresh n HOT! APPLICATION AREA The handwritten, sloppy, square, shaky and fresh urban script font »Tag Hand Graffiti Trash« BANG! would look good at display size for headlines in magazines or websites, movie posters, music covers artworks or music webbanner. TECHNICAL SPECIFICATIONS Headline Font | Display Font | Fancy Font – Tag Hand Graffiti Trash OpenType Font with 393 glyphs - alternative letters and ligatures like Mr, Mrs, Ltd, Co, Dr, Mc, Dj etc. (with accents & €) & 2 styles (regular & fat) + dingbats like diamant, tape deck, microphone, vinyl etc.

American type designer Michael Abbink created this sans FontFont in 2001. The family has 9 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design. FF Kievit provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super—and subscript characters. It comes with a complete range of figure set options—oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. FF Kievit received several awards: the Bukva:raz award in 2001 and the ISTD award in 2001.

Milescut is a display typeface inspired by some seminal covers the graphic designer and photographer Reid Miles created for the Blue Note Records between the 1950s and 1960s. Miles made almost 500 covers for Blue Note in this period, including some using the hand-cut technique that consists basically in doing vertical cuts in capital letters and numerals to create a unique style within the universe he created for Blue Note. Milescut is a tribute to this small “cut” 😬 in his trajectory within the greatest record label of all time. This idea came about while I was working on what will become soon a revival of a wood type that I fell in love with when flipping through a Specimen of the MACHINE CUT WOOD TYPE manufactured by The WM. H. Page Wood Type Co. Milescut has two extra sets of alternates that work cyclically when activated in your OpenType menu and lots of ligatures, pretty cool :)

fj Alabaster Antique™ is a hybrid typefamily with a 10 styles inspired of the develop and exploration of “serif” since the first half in XIX century, envolves a special influence of the slab humanist typefaces, —with a calligraphy flavor in his Italic— with the goal to generate a contrast in to texts sheets. Has a three display versions based in the universe of “woodtypes” to deliver a “unity” in all typeset, like his versions fj Alabaster Antique™ Display, Engraved & Shaded. Include Small Caps, Swashes, Modern and OldStyles figures to decimal notation that envolve to fj Alabaster Antique™ in a ideal typeface for first and second lecture in the most of the visual communication pieces. • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas

Modern Grotesk with attractive Display set Gallinari has it. . Gallinari is an attractive Grotesque suitable for all kinds of design needs. Starting from the Heading - Body font is reliable, Has a humanist and geometric character makes it a universal grotesque. Gallinari is equipped with very complete size variants, thin to black, not only that, this font has a condensed style which is paired with Oblique style for a total of 36 fonts in a complete family. What makes it interesting Gallinari has the Uppercase Display set on ss05 bold and sharp, for the letters C, G, O, Q, S, Z completely changed from their basic shape to meet the wild and cool type of display, ss01 ss02 ss03 ss04 is used to give alternative forms of the basic letters (A, P, R, Q, W, Y, a, w, y). Each Gallinari style has more than 680 glyphs and supports various Western European and Cyrillic languages.

Technical Stencil VP is the stenciled version of Technical Standard VP and the two typefaces can be used either on their own or together seamlessly. The initial inspiration for their design came from examining the various types of precisely machined labels on tools from cameras to cars, which need to be perfectly legible at all sizes. The unique streamlined look such processes achieve was carefully reinterpreted and the resulting fonts are at the same time robust and stylish, both universal and unique. Technical Stencil VP includes ten distinct styles, offering great versatility. All styles in this family include an extensive Latin character set, the Greek alphabet, multiple sets of numerals, a large set of punctuation marks, and other symbols. With 1120 glyphs in each style, it guarantees full support for all Latin languages. To make the family even more powerful, twenty OpenType features are included, such as multiple vertical positions, diagonal fractional forms, optional slashed zeros, separate old-style and lining figures, small capitals, and contextual alternates.

DELIGHTED is an uneven, unpredictable, fun font that makes your projects smile and will inspire you to create something fun and memorable. It is suitable for titles, pamphlets, greeting cards, product packaging, book covers, printed quotes, logotypes, clothing designs, album covers, etc. DELIGHTED will help you create special and touching typographic designs for scandinavian or childish projects, for every day or the happiest day of your life, summer vacations, baby showers, birthday cards, christmas greetings, gifts, even can also be used for t-shirt / hoody design. This is really a universal and modern font. Owner of endless possibilities! Just make the best designs and make your project comfortable, cute, totally hand painted, realistic and natural. The DELIGHTED symbol is very easy to use because it is an alternate from lowcase, only typing the alphabet and adding the underscore ( a_, b_ c) and so on). DELIGHTED font has uppercase, lowercase, alternate ss01 numbers & basic punctuation, multilingual support.

Janna is designed by Lebanese designer Nadine Chahine. It is based on the Kufi style but incorporates aspects of Ruqaa and Naskh in the letter form designs. This results in what could be labeled as a humanist Kufi, a Kufi style that refers to handwriting structures and slight modulation to achieve a more informal and friendly version of the otherwise highly structured and geometric Kufi styles. Janna, which means heaven" in Arabic was first designed in 2004 as a signage face for the American University of Beirut. So, the design is targeted towards signage applications but is also quite suited for various applications from low resolution display devices to advertising headlines to corporate identity and branding applications. The Latin companion to Janna is Adrian Frutiger's Avenir which is included also in the font. The font also includes support for Arabic, Persian, and Urdu as well as proportional and tabular numerals for the supported languages."

Introducing Gingersans, the typeface that's basically a font party in 12 different weights! Imagine a font that's not just a font but a personality chameleon, smoothly transitioning from easygoing and polite in the regular weights to downright wild and fun in the bolds. It's like having multiple distinct characters living in one seamless universe. The design? Oh, it's calligraphy meets sans serif – the rebel child of fonts. The curves are having a party of their own; they go wild on the Black, get too cute on the Hairline, and throw in some artsy politeness on the Regulars. It's a typographic adventure that keeps the vibe consistent, whether you're going Hairline, Regular or Black. And here's the best part – Gingersans is not just a font; it's a variable font too, with a weight axis to cater to your every design mood swing. Get ready to fall in love with the font that's as versatile as your ever-changing design whims! 🎉✨ #Gingersans #TypefaceMagic

Are you looking for a true cursive sans serif? Stile is a true cursive with moderate inclination. Its cursive character has mainly to do with writing-speed. Therefore it may serve also as copy font and not only for emphasizing purposes. Stile has a good readability and is really flexible and universally applicable. Stile is a sans serif and renounces to an excessive use of ligatures and other explicit calligraphic shapes in order to ensure a contemporary style and a homogenous text color. The whole font family consists of 8 weights (from ultrathin to black) and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures. In addition Stile features a very complete and specifically tailored range of numberings and arrows. Bring a personal style into the artwork, with Stile. Download a free trial version of Stile with a reduced character set. Check it out!

Bio Sans Soft is a super neutral sans-serif family for text designed by Ryoichi Tsunekawa and the whole family consists of 6 weights from ExtraLight to ExtraBold and their matching Italics. The basic concept of this family is the same as Bebas Neue which is the our most popular free font and used all over the world, that is to say, Neutral, Natural, Minimal, Harmless, Super-flat, Transparent and Legible. The basic skeleton of their letterform was designed geometrically and the sophisticated design gives them universality, neutrality and sense of unity for the use in all media, all purposes and their large x-heights makes this family legible and readable even on small size screen. Bio Sans supports almost all European languages: Western, Central, South Eastern Europeans and Afrikaans. And proportional figures, superior figures, inferior figures, denominators, numerators, fractions, ordinals and case-sensitive-forms can be accessed by using OpenType features.

The term “Surf Bum” was a slang phrase used to casually describe anyone who spent as much of their time as possible at the beach catching waves in the 1960s. The Revell Company was a well-established maker of plastic model kits such as military airplanes, monsters from Universal horror films and other such items when it hooked up with custom car designer Ed “Big Daddy” Roth to develop a model kit line capitalizing on the surfing fad that was sweeping the West Coast at the time. A number of crazy-looking hot rods, dune buggies and what-have-you were turned out, and one such kit (“Surfite”, with Figure) featured a futuristic one-person dune buggy. It was on the box for the model that the words “with Figure” appear in a casual, brush design type face. Those few letters were the inspiration for creating a new retro type face entitled Surf Bum JNL, which is available in both regular and oblique versions.

• Algarabía "Joy" is a provocative and multilingual text face designed by Leonardo Vázquez. • It was created for a mexican magazine with the same name that uses it as the body text font, and now it's released for the public. • In 1397, Frederic Goudy's was asked to draw a face for the exclusive use of the University of California Press at Berkeley. The font was called California. In 1983 a digital version of this typeface was created by Aaron Burns and it was called ITC Berkeley. • Algarabía is inspired by ITC Berkeley, it keeps the calligraphic touch and weight, but it presents certain features in its design that might result unexpected, yet at the same time they are invisible when used as body text and provides the typeface its unique own personality. • Small Caps and Small caps italic, Included in each version. • Ideal for magazines, Art books or any editorial purposes where legibility and originality are needed.

WAVE is characterized by curved lines and intricate details. Each character was individually made in Illustrator and Type Tool using my original illustrations. Wave is a decorative font best used for titles or short bursts of texts in large point settings. The typeface is based on the uppercase letterforms, but I have also created lowercase letters, numbers, and glyphs. The motion lines used in the making of Wave mirror an art deco-style. Inspired by an illustration of a large wave, I was fascinated that by using only lines and solid colors we as artists can depict the translucency and ever-changing movement of waves. I began by delicately sketching out all of the letters using graph paper and micron pens. My work always begins with traditional media. I'm an illustrator, freelance artist, and graphic designer from Chicago, IL. I studied at Texas Christian University, and received my Bachelors of Arts in Graphic Design from Columbia College Chicago. Visit www.jennyddesigns.com for more! :)

Drop_it is a redesign of fonts originally created to be recognized by computers using OCR (optical character recognition) softwares. Strangely, human beings fell in love for the stylistic inconsistencies of these fonts made for machines. In small sizes, Drop_it emulates the appearance of fonts in antique operational systems monitors. In large sizes, its structure is composed of capsules and pills allude the universe of medicines, drugs and rave culture. Drop_it Dingbats follow the the same grid of its alphabetic version, and can be used side by side in sign projects. Besides the traditional symbols, it present specific images from the rave culture like DJ (Disc-Jockey) and VJ (Visual-Jockey). Drop_it italic set adds velocity to text compositions using six angle variations. All the fun starts with a very unusual Break version. Fall version is a kind of "anti-italic". Slow version put your text in another rhythm. Swing have a little italic emphasis. Italic is, you know, italic. And Speed version run away.

Schumann Pro is the very first issue of a long lost early 1960s typeface project done by Heinz Schumann while he was at the University of Graphics and Book Design in Leipzig, where he studied under German type design giants Albert Kapr and Herbert Thannhaeuser. This alphabet was never published as a typeface, but Schumann went on to design Stentor for Typoart a couple of years after graduating. Albert Kapr’s influence is unmistakable in this playful upright script, especially in the wide and breezy capital forms. Unique exit strokes and serif placement work together to define the bouncy rhythm of this face. This is an expressive original alphabet that successfully bridges the gap between expert calligraphy and everyday sign lettering. P22 Schumann Pro comes with over 500 glyphs, which include plenty of alternates, quite a few ligatures, and extended Latin language support. It is a very effective font when used sparingly in packaging, signage, posters and things designed to catch the eye.

Esm is a font that tries to convey the reinterpreted aesthetics of German and Swiss typography along with a new trend of unusual shapes. The font has a different approach to the internal elements of letters-ovals that have a straight line on one side, drawing the glyph "a" example. I wanted to diversify the font with different styles to avoid the effect of triviality of machine text. The font has a large language support and contains 626 characters. And a large number of special characters. The font family is universal. It is suitable for large text, magazines, posters, logos, and headlines. Thanks to 6 different font styles and customized kerning, the font will look just fine. The thin print is incredibly elegant. The regular is great for a large amount of text. And bold for posters and headlines. Named by the French feminine name Esm. The name itself has a meaning: dear and beloved. I hope my font will convey these feelings.

The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Memoriam Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just type a lowercase letter on its own. It’s that easy! Download and view the Memoriam Initials Guidebook if you would like to learn a little more.

Hokuba Grabs - New Fun Display Font Hokuba Grabs is a New display font that creates with a very good concept and adjusted well to keep the legibility. Hokuba Grabs Display Font Comes with upper and lowercase Standard Characters, Punctuation, Numerals, And other Glyphs variation of the OpenType features/ Ligatures. Hokuba Grabs Display Font is suitable for logos, posters, school flyers, university banners, modern advertising design, product labels, cartoons, comics, kid books, custom mugs, pillows, t-shirts, youtube thumbnails/covers, subtitles, poster quotes, editorial design, book/cover Title, website/blog, social media post, packaging designs, and other designs. Features; - 2 Styles; Regular and Outline - Special Alternates - Uppercase, Lowercase, Number, and Punctuation - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. - Mültîlíñgúãl Sùppört for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy our font and this font is useful font for your projects!

Worthington Arcade is a classically-proportioned capitals-only type incorporating a selection of ligatures and alternates. It loosely resembles the hand-painted architectural lettering of the 30s to the 50s, exemplified by the likes of Percy Smith’s interior signage for the BBC or George Mansell’s lettering for the University of London and the signs found on London’s bridges. However, rather than a slavish copy of any historical model, it is more an examination and evocation of certain idiosyncratic quirks of civic lettering of the period, and an attempt to create a peculiarly English titling typeface. The round letters, for example the O, Q and C, are wider than the perfect circle usually found in such designs, while the straight-sided characters, usually drawn on a square, are narrower. This lends the whole a subtle elegance that is also emphasized by the raised crossbars on the H, E and F and extended lower leg of the E. Includes old-style numerals.

Sudtipos is proud to announce the release of Découpe, a display typeface program of eight fonts, designed by María Carla Mazzitelli and born during her Masters in Typography at the University of Buenos Aires (FADU-UBA). Inspired by gestural graphic expressions –like paper cut-outs (découpes) and spontaneous handwriting– from the most diverse postmodern and contemporaneous artists of the design world, Découpe has been created specifically to be used in big sizes. A little bit irreverent and effervescent from time to time, this gestural sans serif family reveals its contrasts and asymmetrical shapes when it breaks through display functions. From Light to Extra Bold, it reaches the most extreme weights, looking for power and impact. This program is meant to catch the eye in typographic compositions, to shout it out loud and clear. Definitely, to be seen. *Découpe has been recently selected to be part of different typography exhibitions such as Tipos Latinos and the Type Directors Club.

Muller Specimen: http://bit.ly/mullers Muller Narrow Specimen: http://bit.ly/mullerns The very first sketches of Muller were made about four years ago. In the process they changed to the point where they had nothing in common with the original idea. As it is with most work we do, when we seek perfection, changes are inevitable. It was specifically designed with a wider structure for better appearance in small sizes and the extra attention to the detail was needed for the big sizes. We managed to find the right balance for the perfect universal font family. The family consists of 20 weights, ranging from Thin to Heavy with matching Italics. This font family is suited for everything, ranging from advertising, packaging, editorial and branding, to web and screen projects. Muller comes with a complete range of figure options, including proportional and old style figures, each in its tabular version. It also includes advanced typographic features such as ligatures, fractions, alternate characters, case-sensitive forms, superscripts and subscripts.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work 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.

Pontifica is based on ‘protogothic’ calligraphy, a style developed at the monastery of St. Gall in the 12th century to replace Carolingian minuscule with a more efficient and compact system of lettering. Ultimately it became the progenitor of the gothic lettering styles of the late Medieval period. Also available to go with this font is a special swash version with a very different style, but compatible overall appearance.

Incus is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Incus family consists of 6 fonts, divided into 2 subgroups (according to the type of style - St, Cut), and have the 3 types of thickness in each subgroup. Incus fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing

Lazycat is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Lazycat family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Rg), and have the 4 types of thickness in each subgroup. Lazycat fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

The “Kiez“ is an old school style font designed by Elena Albertoni in 2016. Inspired by shop and bar signage of the sixties and seventies, which can still be found today in the so called “Kiez“ in Hamburg St. Pauli or in one or another “Kiez“ in Berlin, which means neighborhood here. It also has a cinematic touch, again: think of the sixties and seventies or your favorite b-movie.

Lokko is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Extended symbols and other. The Lokko family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Cut), and have the 4 types of thickness in each subgroup. Lokko fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

The display typeface that is based on the shapes of traditional Chinese hieroglyphic characters. Designing the font for imitations in the Chinese style the author nevertheless demonstrates serious attitude and thoroughness using the table of keys of the regular Kaishu script. As a result the font looks stylistically authentic and genuine. The typeface was designed by Aleksandra Egorova, the young type designer from St. Petersburg, and released by ParaType in 2008 .

Urbancat is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Urbancat family consists of 8 fonts, divided into 4 subgroups (according to the type of style - St, Rg), and have the 4 types of thickness in each subgroup. Urbancat fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

Fozzy is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. Fozzy family consists of 9 fonts, divided into 3 subgroups (according to the type of style - St, Rg, Op), and have the 3 types of thickness in each subgroup. Fozzy fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

Parus is a impacted modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Parus family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Obl), and have the 4 types of thickness in each subgroup. Parus fonts will be useful in a word processing, developing a brand, creating posters and other graphic products.

BB Manual Mono™ (Pro) visualizes the work of painters: Craftsmanship, precision, professionalism and their tools. The special features of the Font emphasize the work process. ● Flow: visible process ● Alignment: contextual monoline ● Accuracy: individual modularity ● 5 Variants (TX (Text), IT (Italic), ST (Standard), HL (Headline), CR (Cover) ● 40 OT-Features/Style ● 60 Styles ● 100 Stylistic-Sets (20/Variant) ● 122 Languages Support (Latin, Greek, Cyrillic) ● 86,100 Glyphs (1,435/Style)

Lehmann Egyptian is a font of three styles, based on the pre-revolutionary hand set fonts by Berthold and Lehmann type foundries in St. Petersburg. Designed mainly for display typography, the font works well in small texts too. There's also a quite useful bonus — a stylistic set of historical forms. Lehmann Egyptian was designed by Albert Kapitonov in cooperation with Dmitry Kirsanov and released by ParaType in 2018.

Sign Production JNL somewhat resembles Sign Kit JNL but there are some noticeable differences. The letters and numbers in Sign Production JNL are bolder, wider and have some slightly different character shapes. The common theme is that both fonts were designed from die-cut letters and numbers found in the Webway Sign Cabinet, manufactured by the Holes-Webway Company of St. Cloud, Minnesota until its demise in the 1980s.

Hisham is a modern Arabic headline face, designed by the Lebanese calligrapher, Ahmed Maged, originally for Linotype-Hell Ltd. The Hisham design has a distinctive style with a strong baseline, relieved by strategic cut-away effects, which is counterbalanced by the bold vertical strokes and some strong diagonals. This somewhat compact font adds a new style to the range of Linotype’s Arabic headline fonts. This OpenType font includes Latin glyphs from Optima Extra Black, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Hisham incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Montecatini takes its cues from the elegant Stile Liberty travel posters of Italy in the early 1900s. In its successful first release by Louise Fili Ltd in 2017, the typeface introduced distinctive ligatures typical of the time when Art Nouveau emerged as a worldwide phenomenon. Now Montecatini has been expanded into 24 alluring styles, spanning 6 weights and 4 widths. With the addition of these new styles, Montecatini has a dynamic capacity for comprehensive use and pairing. Everything looks better in Montecatini, from book jackets to monograms to packaging and logos—and the wide selection of ligatures, weights, and widths makes copyfitting a delight. Montecatini Pro’s ligatures are setup as contextual alternates. If you would like to try out Montecatini Pro’s ligatures or learn more about the font, please visit: https://www.louisefili.com/montecatini-pro