Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

Sometimes it is a boring, tiring process to find a proper font for your project, and what is worse is that the font type you find has no specific character preventing you from delivering messages effectively. For that reason, we have the best solution to your problems. Maffa Latte is a perfect display font for delivering your messages on every design you are working on. Such a display font generally shows you a unique, funny, fun impression for any necessities, increases the nuances of professionalism and attractiveness to the product or brand promoted. The right use of this font makes the design more interesting and fun to cheer up customers. This font, with a clipart as an extra bonus, is legible due to its simple forms and proportions along with high contrasts. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Maffa Latte fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Biloner is a font in simple, clean sans serif base forms. Its letters have no ornaments and serifs making them look modern and simple. The firm, straight letter shapes look strong and evident. This font shows enlarged capital letters to create a brave, prominent look enabling it to be the center design and to make an explicit message. Despite its original sans serif font base form, Biloner adds detailed brush touches to the letters to give extra rough textures on the letter lines. The brush scratches are on the edge or certain parts of the letters adding dimensions and attractive visuals. Fortunately, this font is applicable for any text sizes thanks to its great legibility, and you may also enjoy the available features here.) Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Biloner’s flexibility enables it to adapt to any design styles, either the modern and contemporary, or brave and creative ones. It surely fits for any design contexts such as titles, posters, book covers, and brandings. 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.

Thanks for checking out Snowdrop Script! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & alternates, Snowdrop Script is guaranteed to make your text stand out - perfect for wedding invitations, printed quotes, cards, product packaging, headers and whatever your imagination holds. By the way, you can make your own design IN ANY language What's really awesome is that Snowdrop Script comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text. Here's what you get in the download: 1. Snowdrop Script - A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Fully support of all Latin and Cyrillic languages 2. Snowdrop Swirls - The set of small letters with swirls at the beginning and end of the letter. You can use A-Z and A-z to get to them 3. Snowdrop Alt - The set of small letters with special endings + a set of letters with special curls for the middle of words Fonts are provided in TTF / OTF / WOFF formats. You do not need a special design program. Font easy and convenient to use.

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Palatino Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is based on the Al-Ahram typeface designed by Zapf in 1956 but reworked and modified to fit the Palatino nova family. The design is Naskh in style but with a strong influence of the Thuluth style as well. This is evident in the swash-like finials and the wide proportions of the letterforms. It is designed for use in print in both large and small sizes. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino nova and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Palatino Arabic wins Type Directors Club award. Each year, the New York-based Type Directors Club judges typeface designs from all over the world in their TDC2 contest. Linotype is pleased to announce that a very new typeface of its own is among 2008’s winners: Palatino Arabic. A collaboration between Nadine Chahine and Prof. Hermann Zapf, this face is an extension of Zapf’s Al-Ahram Arabic type from 1956 recreated to join the Palatino nova family.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in a magazine from the Otto Maier publishing house, Ravensburg, which was issued sometime in the years shortly before WWI. The magazine is entitled ”Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete“ (Collection of scripts for technical specialists: reduced scripts of the most significant alphabets) and published by Karl O. Maier. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. The characters have been scanned, digitized and greatly magnified. Special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch. Especially worthy of note are the Jugendstil forms characteristic at the turn of the19th century. In comparison, many alleged ”ultramodern“ font types of today suddenly look quite old-fashioned. Maier’s Nr. 21 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

Chucara next is the newest font designed by Juan Pablo De Gregorio, a typeface aimed at high readability when set in paragraphs or large chunks of text. Its predecessor "Chúcara", born in 2003, sought after increasing readability by achieving big and simple counterforms. This time around Juan Pablo went further by increasing the X-height and trimming both ascenders and descenders, thus the font appears to be much larger than it is and can be readable at smaller sizes. The DNA of the whole font is marked by the terminal of the "a" character. Juan Pablo used a specially crafted cut to design this counterform, and this shape together with the graceful and winding forms of the letter resembles the form of a horse, hence the name Chúcara, or untamed. The italic version has a 10-degree angle and a 10% condensation, making it way more streamlined than a regular italic font. The Philosophy of a larger counterform is maintained through and through in the italic variant. This version looks different not only due to its inclination, but the sheer effort put into carefully taking care of the condensation and the gestures allow the italic to enrich the texts gracefully, for the highlighting of the words stands out without affecting the grey of the paragraph. Chucara next is a typeface optimal for being used in books, newspapers, magazines, texts, printing, headlines, editorial, quotes, corporate identity, and lo res printing. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 635 characters with small caps, stylistic sets and different kind of numbers. It supports 219 Latin-based languages, spanning through 212 different countries. Chucara next supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Liliana is a geometrical typeface, born throughout comprehensive formal studies while testing new ways of displaying certain words and sentences. The essential structure of Liliana is very conservative: It can look similar to other geometrical typographies, however, it has unique features that make this project very special. Liliana is a typeface that will work perfectly while setting short texts, words, and phrases as well. It shall perform greatly even when the paragraph is too short. Thanks to the versatility of its alternate characters, Liliana is perfect to achieve eye-catching texts. The spirit of this typography is focused on its “s” character, which originates from manuscript writings and provides a very special identity. If the text does not contain the letter "s", the intended personality can still be achieved by using alternate characters such as "f", "l", “r” and “L”, which are aligned with the same concept. On top of that, may all this still not be enough, you can furthermore use its ligatures and swashes. It is actually hard not to set a spectacular text with Liliana! Liliana is a typeface optimal for being used in marketing assets, packaging design, magazines, branding, film captions, headlines, editorial, quotes, logos, corporate identity, and motion graphics. The italic version has a 10-degree slant. This feature is intended to convey a gorgeous feeling of tension, power, and agility. It’s very interesting to realize how the dynamism in the italic characters works when compared with the regular ones. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 642 characters with ligatures, alternates, and swashes. It supports 219 Latin-based languages, spanning through 212 different countries. Liliana supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

A sturdy workhorse with the grace of a gazelle, the FF Pastoral typeface family marries pure craftsmanship with rapturous excesses of form. With his fifteenth release under the FontFont brand, prolific French designer Xavier Dupré has filled a typographic toolbox with plentiful options ranging from a tender, feathery Thin to a robust, healthy Black. At a glance, FF Pastoral appears deceptively simple, particularly in the middle weights. That surface serenity is intentional and allows for easy reading and quick comprehension of short blocks of copy. Upon closer inspection, FF Pastoral is complex and nuanced, carrying a balanced tension in its forms. This plays particularly well in magazine spreads and corporate logos, where uniqueness is a virtue. In creating his latest design, Dupré drew inspiration from a tasteful mix of references, combining diverse elements with a deft hand. While its letter shapes were informed by humanist-geometric hybrid Gill Sans, FF Pastoral’s proportions have been optimized for contemporary typography. Slightly condensed but generously spaced, FF Pastoral features a tall x-height, open counters, and subtle, sprightly italics slanted at just 5°. Proportional oldstyle figures are the default in the family, with tabular and lining numbers and fractions accessible through OpenType features. Elegant details evocative of calligraphy judiciously pepper the FF Pastoral glyph set. The ‘e’ bears an oblique crossbar, while the right leg of the ‘K’ and the ‘R’ are insouciantly curved in both the upright and italic variants. Further flourishes appear throughout the italics, notably in the ‘T’ and the ‘Z’, the gloriously looped tail of the ‘G’, and an extraordinary ampersand. Sharp-eyed fans of Dupré’s work may feel like they’re in familiar territory, and they would be right. An early version of FF Pastoral sprang to life in 2017 as Malis, a family in four weights on the heavier side of the spectrum. Over time, Dupré refined his original design, expanding it with four lighter styles and including true italics for all. The lightest weights are ethereal, with exquisitely delicate strokes drawing the eye in and across a line of type. The most substantial styles are tremendous in their power, allowing text to make a deep impression in print or on screen. Fully fleshed out, FF Pastoral works sublimely in a vast array of text and display settings. Dupré sees his latest FontFont offering as a ‘cultural’ typeface, perfect for the pages of an oversized coffee-table book or business communications where warmth and informality will win the day. Born in Aubenas, France (1977), Xavier Dupré is a gifted user of type as well as an award-winning type designer and lettering artist. After training in graphic design in Paris, Dupré studied calligraphy and typography at the Scriptorium de Toulouse. Since releasing FF Parango in 2001, Dupré has published such FontFont classics as the FF Absara and FF Sanuk superfamilies, FF Megano, FF Tartine, and FF Yoga. A designer of Khmer fonts as well as Latin typefaces, Dupré splits his time between Europe and Asia.

Gothic Round was first introduced as wood type by the George Nesbitt Co. in 1838. The font is a softened variation of a standard heavy Gothic typeface. The style evokes a much more recent history of the 1960s and 70s and can be seen in such places as donut shops and on children's toys as well as inspiration for such fonts as VAG Rounded. Gothic Round has not previously been available as a digital font until now. The font was digitized by Miguel Sousa from a wide variety of historical sources, including visits to the Cary Collection at RIT (Rochester, NY), WNY Book Arts Center (Buffalo, NY) and the Hamilton Wood Type Museum (Two Rivers, WI). The result is a very solid and contemporary font with a 175 year history. For more information about this release, check out the Hamilton Wood Type Foundry website .

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

ขอแนะนำ Pariphoom แบบอักษรอันโฉบเฉี่ยวและทันสมัย เหมาะสำหรับงานออกแบบหลากหลายประเภท ด้วยอักษรแบบ sans-serif condensed และมุมโค้งมน แบบอักษรนี้ให้ความสมดุลที่ระหว่างความเป็นทางการและความเข้าถึงได้ง่าย ชื่อปริภูมิมาจากภาษาไทย แปลว่า “Space” และเช่นเดียวกับชื่อของมัน ฟอนต์นี้สามารถให้พื้นที่มากขึ้นในงานออกแบบของคุณ ไม่ว่าคุณกำลังสร้างสื่อสำหรับสร้างแบรนด์ พัฒนาแคมเปญการตลาด หรือออกแบบเว็บไซต์ Pariphoom มอบความยืดหยุ่นและความอเนกประสงค์เพื่อให้ได้รูปลักษณ์ที่คุณต้องการ Pariphoom มาพร้อมกับรูปแบบที่แตกต่างกันถึง 18 รูปแบบ สิ่งนี้ทำให้คุณมีตัวเลือกมากมายและมีความยืดหยุ่นในการใช้งานในหลากหลายบริบท นอกจากนี้ ฟอนต์นี้รองรับหลายภาษาสำหรับภาษาต่างๆ มากมาย แต่นั่นไม่ใช่ทั้งหมด Pariphoom มาพร้อมกับฟีเจอร์ Opentype เจ๋ง ๆ เช่น Small Caps และ Tabular ซึ่ง Small Caps เป็นวิธีที่ยอดเยี่ยมในการเพิ่มความหลากหลายให้กับงานออกแบบของคุณโดยใช้ตัวพิมพ์ใหญ่แทนตัวพิมพ์เล็ก ในขณะเดียวกัน Tabular ก็สมบูรณ์แบบสำหรับการสร้างตารางและจัดตำแหน่งตัวเลขเพื่อให้ดูเป็นระเบียบมากขึ้น โดยรวมแล้ว Pariphoom ทำให้เป็นตัวเลือกที่ยอดเยี่ยมสำหรับนักออกแบบที่ต้องการสร้างผลงานการออกแบบที่น่าจดจำและมีประสิทธิภาพ Introducing Pariphoom, a sleek and modern typeface that is perfect for a wide range of design projects. With its condensed sans-serif design and rounded corners, this font offers a unique balance of professionalism and approachability. Derived from the Thai language, the name Pariphoom means "Space" and just like its name suggests, this font can give you more space in your design. Whether you're creating branding materials, developing marketing campaigns, or designing websites, Pariphoom offers the flexibility and versatility you need to achieve your desired look. Pariphoom comes with 18 different styles. This gives you plenty of options to choose from and the flexibility to use it in various design contexts. Additionally, this font offers multi-language support for a wide range of languages. But that's not all – Pariphoom comes with some cool Opentype features such as Small Caps and Tabular. Small Caps are a great way to add variety to your design by using small capital letters instead of lowercase letters. Meanwhile, Tabular is perfect for creating tables and aligning numbers for a more organized look. Overall, Pariphoom making it a great choice for designers who want to create memorable and effective design projects.

The four weight semi-condensed Bartholemé family came into existence as a family expansion based on the designer's earlier concept, Bartholemé Open. This hybrid family was inspired by and loosely based on a number of contemporary mid-twentieth century type concepts having Old Face or Modern influence. Those inspirational type designs were primarily designed for various proprietary photolettering technologies of the time. The award-winning* Bartholemé Open and its companion design Bartholemé small capital open were inspired by various Shaded, Inline and Handtooled type models from the nineteenth and twentieth centuries. Most of those inspirational type designs were designed as titling fonts with all capital sets only. To set it apart from the earlier models, Bartholemé Open is semi-condensed intentionally designed with a lowercase. Design qualities include a large x- height, tightly curved ample counters, crisp serifs and tight bracketing. The overall plan of the family was originally intended for display usage in titling and short passages of text. At higher output resolutions all fonts read well at smaller point sizes. The Bartholemé family works well on its own, but also is compatible with type styles possessing qualities that complement or enhance its own. The Bartholemé family consists of a Regular weight complementing a Bold weight, along with Medium complementing an Extra Bold weight. The companion true-drawn italics are based on the Bartholemé roman design. * Award for Design Excellence bukva: raz! Type Design Competition of the Association Typographique Internationale, 2001

Welcome to the world of courage with Birhuk Lord, a display font with a superhero style that is ready to add tension and strength to your projects. With strong, bold themes and bold looks, Birhuk Lord is the perfect solution for creating memorable messages in movies, games, and designs. In its electrifying light, Birhuk Lord conveys the feel of a superhero that captivates everyone. Each letter exudes courage and strength, taking your project to the next level and creating an extraordinary user experience. In addition to a stunning style, Birhuk Lord is also equipped with excellent features that will enrich your creativity. With ligatures and alternative characters, you can combine typography in unique and interesting ways. Apart from that, this font also supports multiple languages, allowing you to reach an international audience with a strong and bold message. With the presence of the Birhuk Lord, you will experience the magic at every touch. Get unforgettable courage, thrill, and strength with this font. Don’t waste the opportunity to have a Birhuk Lord and create extraordinary works that inspire and captivate each of your potential customers. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

A stylish retro script where I have completely redone the spacing to make the text look more even. All of the diacritics have been redone, too - and the character set expanded in our usual fashion. So now this little gem from Nick Curtis is ready for the big time! Nick Curtis says: “This font is basically a design exercise, influenced by a number of contemporary fonts, but unique in its own way. The gentle, fluid motion reminded me of diner lettering from the 30s and 40s, hence the name.” 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.

Ebratho is a superhero-themed display font that brings strength, courage, and modernity to your projects. With a strong, bold, and full-of-character style, this font is the perfect solution for creating an impressive and aggressive look. In every letter, Ebratho radiates soul-stirring power. Each character is designed with meticulous detail and a unique style, creating a strong and compelling impression on your audience. With a modern and charismatic look, this font will give your project an unforgettable touch. Ebratho is packed with creative tools, including ligatures and alternates, that allow you to combine elements of this font in various ways to create interesting and unique stylistic variations. Additionally, multilingual support allows you to use Ebratho in multiple languages, making your project accessible to a global audience. If you’re looking for a strong, bold, modern, and bold font with a superhero touch, Ebratho is the right choice. With benefits that include the ability to create impressive looks and creative features such as ligatures and alternates, this font will quickly catch the attention of your potential customers and make a memorable impression in no time. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Miranda Wright is a captivating serif font designed in an exquisite and elegant style. Each letter is meticulously crafted with fine details, evoking a sense of sophistication and grace. What sets Miranda Wright apart are the last few letters, which feature graceful circular swings that add a touch of charm and uniqueness to the font.. The circular swings at the end of certain letters infuse this serif with a delightful flair. These subtle and graceful details add an air of playfulness and individuality to the font, setting it apart from conventional serif typefaces. The circular swings give the font a distinctive personality, making it ideal for creative projects that seek to stand out. Its legible and elegant letterforms make it suitable for both body text and headings, while the circular swings add a touch of character that enhances the overall visual appeal. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Miranda Wright fits in headlines, logos, posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, website headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Finding a perfect font for your project which always looks good in different display types can be a complicated task. Furthermore, the right font choice determines the success and the failure of your project. Unfortunately, if you fail to find the perfect one, you will waste your time, money and energy. Therefore, we would like to introduce you to Jelly Ball, a perfect font for any different display types without decreasing the legibility. Jelly Ball is a display font in round shapes on the letters’ edges to produce different effects on different applications. Generally, such a display font shows amazing, fresh, modern expressions to highlight important messages, to attract readers’ attention, and to beautify the display as well. The letters’ forms and proportions are relatively consistent enough to be legible. An extra bonus given is the clipart. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Jelly Ball fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

A few emails sent to Canada Type have asked for more “bad scripts”. A few others asked for "more Mascara-like treatments". And some asked for more fonts of “distressed elegance”. Whatever you like to call this style of doubled-script font, sightings of designs using it have become common within the last few years. Such fonts have become the standard in expressing elegant confusion, old chaos in modern settings, recycled histories, and rebellious ideas. This style is quite often seen on chic clothing, music packaging, some sports paraphernalia, surfer and skateboarder gear, even book covers. That said, the Heathen font was made to include an advantageous feature that other distressed scripts do not normally have: More intertwined over-swashing in the majuscules. This over-swashing is quite useful in settings where the stroke and fill colors differ, or complement each other. It is also quite the point of emphasis where the idea is to show elegance gone ancient, old thoughts in a modern wrapper, rust never sleeping, or the very basic limits of the world’s nature. The original Heathen was made by redrawing Phil Martin’s Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scroll’s lowercase atop a pre-release version of Sterling Script, yet another Canada Type font. Heathen Two was made in a similar way, by combining two pre-release Canada Type scripts.

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.

Malou Verlomme’s Madera is a typeface made strictly for graphic designers, created as an indispensable type toolbox that can meet the needs of both print and digital environments. Verlomme has drawn on his extensive experience creating bespoke type for major brands, and Madera is a “typographic synthesis” of this work. Although designed as a restrained sans serif, the typeface has some punchy personality – with sharpened apexes that inject flavour into the design, particularly in the darker weights and when set at all caps. Madera sits alongside fellow geometric designs such as Proxima Nova, Gotham or Avenir, offering a straight-talking tone of voice but with some extra bite. If you’re a large corporation, with a typeface being used in many different environments you want something that's just the right balance of visibility and legibility to sustain an extensive amount of communication.” “The design is very solid but it doesn’t go out of its way to attract attention,” explains Verlomme. “It still has a fair amount of warmth and personality, in a very understated manner. The Madera typeface family has 32 fonts: Upright, Condensed and Italics. It is available in OpenType CFF and TTF fonts formats. Each typeface contains over 650 glyphs with extensive Western, Central and Eastern European language support. It also supports OpenType typographic features like alternatives, ligatures and fractions. Madera Variables are font files which are featuring two axis and have a preset instance from Hairline to Extra Black.

Ramozact Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with hand-lettering style. Designed to bring style elegance. Ramozact Script attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Ramozact Script has 397 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac). How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thanks for your purchase!

Black Witcher is a spine-chilling display font that will cast a spell of fear on your designs. With its big letters and bold weight, this font demands attention and exudes an aura of dread. The horror theme is brought to life with meticulously crafted tree root details on each letter, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, making a powerful statement in your designs. The large size of the letters enhances the font's haunting presence. The tree root details in Black Witcher give the font a sinister and otherworldly appearance, as if the letters are entangled with ancient and malevolent roots. These haunting details add a sense of mystery and foreboding, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Black Witcher fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. 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.

First March is a captivating display serif font designed with elegance and a touch of modernity. This typeface combines classic serif elements with a contemporary twist, offering a unique and refined look to your creative projects. The elegant letterforms with clean lines and balanced proportions adding a sense of sophistication and grace to your typography. The serif details provide a timeless appeal, while the modern twist brings a fresh and current vibe to the font. This combination creates a harmonious balance between tradition and innovation. What sets First March apart are its swinging endings in select letters. These graceful and subtle flourishes add a touch of dynamism and playfulness to the font, creating an engaging visual experience. The swinging endings bring a sense of movement and fluidity to the letterforms, enhancing the overall elegance of the typeface. Because of its legibility you can use this font in a variation of text sizes. Enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations First March fits in headlines, logos, posters, titles, invitations, branding materials, print media, editorial layouts, website headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Ornaments family with four different sets plus a decorative capitals font from the rare, valuable and amazing Allerlei Zierat book from Schelter & Gieseck (1902). A research and free interpretation by Intellecta Design. This encyclopedic specimen book of the Leipzig, Germany type foundry and printing supply house J.G. Schelter & Giesecke features, as the title indicates, all kinds of decoration for supplying printing of every type. On the title page, the firm boasts winning grand prize in 1900 in Paris (presumably at the Exposition Universelle). It is hard to do justice in a short description to the variety of styles (traditional, Jugenstil, etc.) and categories (certificates, letterheads, borders, ornaments, exotic motifs, flowers, animals, silhouettes, menus, greeting cards, vignettes humorous and otherwise, images of bicyclists, occupational symbols, portraits, Classical figures, religious art, heraldry, ships, trains, athletes, etc., etc.) offered in this volume. Some of the examples are printed in color, most are in black-and-white. The Jugenstil cover of this copy shows minor wear and soiling. The plate of “Gust. Carlsson & Co., Stockholm” is attached to the front pastedown. A small fraction of pages show minor soiling, a pencil notation or a short closed tear. Two of the fold-outs at the back have a little more damage-one is missing a 1x2 inch piece along the margin, the other has a 3-inch closed tear and an edge which is crumpled. A rare specimen from the Intellecta rare books library.

Cloister Open Face was designed in 1929 by Morris Fuller Benton as one weight of the Cloister Old Style family. Cloister itself appeared from 1897 with American Type Founders, and later for the typesetting machines of the Linotype, Intertype and Monotype companies. At that time, it was the truest modern industrial revival of the Jensonian Roman. Benton stayed close to the style of his model in both design and spacing. Cloister Open Face has an old-world elegance, and it works well for titling in books and magazines. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e.""

The Dagoda is a calligraphy script font that comes with beautiful alternate characters. copper plate calligraphy alloy with handlettering style. Designed to convey stylish elegance. The Dagoda is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. Classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Dagoda features a glyph and alternate characters. including multiple language support. It features OpenType with character styling, binding, and stroke, allowing you to mix and match letter pairs to match your design. Files include: To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives/swashes, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. Thank you for your purchase!

Brailganta Script is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Brailganta script provides alternative variants of most fonts, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, verses, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Thank you for watching!

Warrior Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with hand-lettered style. Designed to bring style elegance. Warrior Script attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Warrior Script has 419 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit

Coestral is a captivating capital serif font designed with elegance and a touch of interconnected charm. Each letter is meticulously crafted to exude sophistication without being overly heavy, creating a harmonious and visually pleasing appearance. The capitalized letterforms of this font showcase clean lines and refined serifs, striking the perfect balance between elegance and readability. The font's moderate weight ensures a versatile and adaptable design, making it suitable for a wide range of creative projects. What sets Coestral apart is its subtle yet delightful feature of connected letters. Some letters are gracefully linked, creating a seamless and flowing look that adds a touch of uniqueness and artistic flair. This interconnected style adds a sense of continuity and grace to the font, enhancing its overall elegance. On the other hand, its legibility and graceful appearance ensure that it makes a bold statement without overwhelming the viewer. Enjoy the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Coestral fits in headlines, logos, posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, website headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing Daily Sans, a complete sans serif font family with 10-weights, plus italics (20-fonts total). Daily Sans was designed to be an everyday-use geometric typeface with excellent legibility and a neutral tone. It's a perfect go-to for branding, web, and print design projects and can stand out on its own or play a supporting role in font pairings. It’s great for body/paragraph type as well as for larger display type. Because the goal was to create a font you can truly use for any project, purpose, or occasion, Daily Sans includes a wide range of weights starting from the very thin Hairline all the way through to the very bold Heavy. This means that you’re always able to find just the right weight for your needs, and it makes creating type hierarchies a breeze. Daily Sans comprises 20 fonts, each with approximately 450 glyphs - including 16 standard and discretionary ligatures, three ampersand variants, a full set of arrows, and more - and supports over 200 languages. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu.) PLEASE ENJOY! I can't wait to see what you make with Daily Sans. Feel free to use the #upupcreative and #dailysansfont tags to show me what you've been up to.

Hope Sans™ takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman. The result is a sans serif family that is lively, inviting and deeply customizable. Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography. Hope Sans has been selected by the judges of the 22nd Annual TDC Typeface Design Competition to receive the Certificate of Typographic Excellence. The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy. Their friendly vibe also translates well to web and interactive design projects. Spacing is open, counters are large and Hope Sans’ range of six weights can provide just the right design for virtually any need. Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights – either with, or without, the swash letters. “Hope Sans is a paint box,” says its designer, Charles Nix. “In its basic form, it’s a sturdy grotesque, capable of setting text in a cool and relaxed way. But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning. And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.”

-Fabulous, beautiful, friendly, talkative, sweet, caring, a little on the odd side, very desirable by many, good at almost everything- That's the definition of Fabiola according to the slang dictionary of americans. If you were you looking for something delicious, a font that covers a really wide range of uses and always looks amazing, Fabiola should be your choice. Although it may look as another of my scripts with juicy swashes, this time I explored in depth the pairing and interaction with capital letters for more unique results. Why? We are going through some crazy days where the number of people interested in letters is only growing. We see lettering everywhere: I can say that finally our field is shouting out loud; letters are THE protagonist more than ever. Hence the need of combining and pairing different styles is booming. Fabiola Script and Fabiola Caps were done in a way that they seem to need each other. There's nothing better than the above images to prove this. But, how does it work? The big swashes of the Script style were designed so they can surround, wrap and mingle with the Caps styles. The smaller swashes are meant to be used when the Script is alone. Simple, right? I hope you find Fabiola useful on your projects and enjoy using it like I did when making the posters! Have a super fabulous day!

www.Stat-Type.com Complementary Type Family Stat Display Pro Stat Text Pro is an information design sans serif type family which was developed as a complementary to Stat Display Pro. Stat Text Pro retains many characteristics of its display counterpart, while giving readability a greater importance. It has simpler letter shape details which enable it to accomplish a constant rhythm whiles being read. Its main intended use is to accompany Stat Display Pro in places where longer passages of text are needed. In this way the visual character of the composition is retained and at the same time readability of text is given attention. As its display counterpart it has a large character set with multiple weights, which are defined by optimal size ratio, wide aperture and balanced counters. It contains nearly 700 glyphs, including diacritics, ligatures, small caps, old–style figures, arrows and more. This enables it to achieve wide language support. It consists of four weights (Light, Regular, Medium, Bold) which are accompanied by their corresponding obliques. Stat Text Pro type family has higher than average x height (72% of cap height) which is accompanied by matching ascender and descender size ratios. The development of the type family was based on research in legibility to achieve highly legible letter shapes, while not diminishing their visual character. A detailed description of Stat Pro type family is available at Stat-Type.com where a DEMO font can be downloaded.

Grethania Script is a calligraphic script font that comes with beautiful alternative characters. a mixture of copper plate calligraphy with handlettering style. Designed to convey the elegance of style. Grethania is interesting because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read. Classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Grethania Script displays 310+ glyphs and 122 alternative characters. including multiple language support. With OpenType features with changes in style, binder and character swash, which allows you to mix and match pairs of letters to fit your design. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use font styles that are set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

The name suggests it: the Chiq is based on a well-known system font from Apple's classic Mac OS operating system. By revamping and expanding good old “Chicago“, I want to make that 90s tech charm available for the future. The model consisted of just a single style and inspired me to create “Chiq Bold,” which later became the starting point for the entire font family. The shapes of the Chiq are constructed according to a very simple principle. The contrast of stems and hairlines becomes more pronounced towards the bolder cuts. A few basic shapes form the framework for all characters. The shapes are very regular and sometimes form somewhat unusual figures, which has a negative effect on readability and makes the font rather unsuitable for long passages of text, but results in a very even typeface. This is particularly true for the extra-wide “UltraExpanded,” which is so wide that you can no longer recognize word images but literally have to spell them out. In this way, words are turned into letter bands with a great decorative effect. With variants from “Light” to “Black”, from “Normal” to “Ultra Expanded” and the italics, Chiq reaches beyond its archetype. This opens up a wide range of uses. It is even clearer, even more sober, and to a certain extent speaks an even more modern formal language. Chiq is also a variable font!