Bold, rounded and super cool. Those are the attributes of my latest font “Vinyle”, french for vinyl. In this epoque where all fields of Design are giving a lot of importance and attention to Typography and Lettering, I felt it was my duty to contribute with something that could really stand alone and ‘say something else’ that just words to be read. I've found that lately in the world, regarding a finished piece of design, the role of Typography (and of letters in general) went from being secondary, (like a minor player or a supporting actor) to the most important one. People are starting to understand the beauty of a well-done letter: they want their storefronts with unique scripts, they want to drink coffee surrounded by lettered blackboards, they want to buy books with astonishing covers with swashes ‘por doquier’. I'm more than happy to be alive in a present where even the most unimaginable friends of mine, (who couldn't spot differences between comic sans and helvetica before) are now conscious of the importance of a letter, or let’s say: Of the ‘voice’ of Typography. With Vinyle I tried to make a font with power. Following the nowadays trend of, let me say, “the vintage sans renaissance”. This time I put my brushes and nibs aside and experimented with something new. It wasn't easy, if you will pardon, for me to see swashes all over the place withouth the classic calligraphic ‘thick and thins’, but with after some weeks of work I started to love them. Like I already showed you in other creations (1) let me finish with the phrase: GEOMETRY IS SEXY! TIPS Vinyle has a lot of attitude, it shouts “here I am!” it really can ‘design an entire piece’ for you with just a word or two: It was designed with a 10 degree slant on purpose so the user may rotate it (like on the posters) that amount of degrees in order to see better results. Use Vinyle with the ‘fi’ standard ligatures activates for better kerning and ligatures! NOTES (1) See my font Selfie , the ‘little sister’ of Vinyle.

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

Introducing "Mate" - a modern mecha font that pushes the boundaries of typographic design. Inspired by the sleek aesthetics of mecha machinery, this font combines hexagonal formations with a futuristic and cyberpunk visual language, giving your projects a bold and captivating edge. The "Mate" font captures the essence of the future with its hexagonal shapes meticulously integrated into each character. The geometric precision and interconnectedness of these forms create a visually striking and dynamic appearance. The carefully crafted letterforms evoke a sense of advanced technology and mechanical elegance, making them perfect for projects seeking a contemporary and cutting-edge look. With its cyberpunk-inspired design, "Mate" transports your audience into a world where technology and imagination intertwine. The font's sleek lines, sharp angles, and futuristic elements capture the essence of a dystopian future, adding an air of intrigue and sophistication to your designs. The unique hexagonal feels of "Mate" create a sense of interconnectedness and harmony within the letterforms. Each character seamlessly integrates into the next, forming a unified and visually captivating composition. Whether used in titles, logos, or headlines, this font demands attention and conveys a sense of progress and innovation. Unleash the power of "Mate" in your design projects to evoke the spirit of mecha aesthetics. Whether you're working on sci-fi book covers, gaming interfaces, futuristic posters, or branding for technology-driven companies, this font will effortlessly infuse your creations with a modern, cyberpunk-inspired charm. With "Mate," you have the perfect tool to unleash your creativity and redefine the boundaries of typographic expression. Let this modern mecha font propel your designs into a realm where imagination meets technology, and the future is brought to life in stunning visual form. This font is perfect for Logo designs, Gaming branding, Technology magazines, Sci-fi book covers, Cyberpunk posters, Futuristic product packaging, Robotics company branding, Virtual reality interfaces, Futuristic event invitations, Mecha-inspired apparel branding, Tech-themed websites, Dystopian novel covers, Futuristic movie titles, Cybernetic-themed party invitations, Gaming convention banners and many more! Mate features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +298 Total Glyphs

Legible, technical, clear—with a hint of retro: Compiler is a no-frills font family straight from the heart of a microprocessor. Inspired by console typefaces, the humanist sans serif typeface combines a large x-height with striking serifs on certain letters such as i and l. Those serifs evoke the aesthetics of monospace typefaces for programming. Even though Compiler is a proportional typeface, this detail improves glyph recognition and helps differentiate between individual letters. Combined with vertical stroke ends, which allow for particularly even spacing, the serifs make for an extremely legible typeface. (Even in small sizes.) Brand recognition guaranteed: Compiler is ideal for applications that require a mechanical flavor without appearing offish. You can use it for websites, apps, branding, corporate design, annual reports, signage, and many other areas with perfect results. Compiler consists of two font families; the second one is Compiler Plain. In Compiler Plain, the signature letters lose their serifs and the forms of "a" and "g" are simplified. This way, the shapes are neutralized. The technical impression recedes into the background. Both families can be combined smoothly: you might use the standard Compiler fonts for display sizes and Compiler Plain styles for body copy. For total design control, you can toggle each of the defining design elements individually from Compiler to Compiler Plain and vice versa. Just use Stylistic Sets to fine-tune your Compiler fonts. Compiler provides you with 8 weights in 4 variations: Upright, Italics, Plain Upright and Plain Italics. That's a total of 32 fonts. Each style contains more than 860 glyphs, including advanced typographic tools such as proportional and tabular figures (both lining and old-style) or small caps—something you'll rarely find in this genre. Other glyphs are optimized for display sizes, such as circled figures and various arrows. There's also a set of glyphs designed for web use: with symbols for shopping carts, hamburger menus or checkboxes, you can implement your web projects elegantly and consistently without relying on third-party tools (like an external icon font). Powered by highly productive OpenType functions, Compiler is an intermedia workhorse straight from cyberspace.

Because you demanded it, the Aviano series is back with a variable version of the futuristic sans serif Aviano Future. Aviano Future’s strong letterforms will make you look like a rock star. Aviano Future Variable is a medium-contrast sans serif titling face that has a bold and futuristic look. It has a bowed square shape which gives it an interesting appearance that is both unique and eye-catching. Given that it has a variable axis any weight can be selected with no loss of clarity or legibility. Aviano Future's expanded forms give the letterforms heft and intensity. Aviano Future is a powerful yet adaptable title face that builds on the award-winning traits of Aviano and elevates them. Aviano Future Variable contains a ton of OpenType capabilities and comes in ten different defined weight instances with "fast" italic forms for emphasis. Want to use more traditional rounded forms? Need swash forms? Art Deco alternates? Aviano Future includes 400 alternate characters. Twelve style sets are available, two sets of art deco inspired alternates, small forms, tough swash, constructivist titling and traditional stylistic alternates. Aviano Future also includes 40 discretionary ligatures for artistic typographic compositions. Additionally, there are glyphs in this family to accommodate a variety of languages, and Cyrillic support was added in 2022. An extensive selection of sans serif typographic systems can be found in the Aviano family. The typefaces can be used alone or in combination to suit the needs of any project. The family's fonts have all been meticulously designed to assist ensure maximum impact and usability at any size. Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Copper, and Aviano Slab are presently part of the Aviano collection. A skilled designer who wishes to create a technological, futuristic, or epic design should consider Aviano Future. Aviano Future Variable will make your design stand out from the competition, regardless of whether you are designing a logo, poster, flyer, website header, or banner ad. Why wait? With the exciting and versatile Aviano Future Variable at your disposal, reach new heights and create a brand that stands out from the rest.

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojtěch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author’s creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also Růžička’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper). My task was to design a modification of the existing Times. The work, however, finally resulted in the complete re-drawing of the typeface. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The typeface itself definitely profited from this; I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison. When I was designing Lido, the cooperation with the head of production of Lidové noviny was of great use to me. Many tests were carried out directly on the newspaper rotary press during which numerous weak points of the earliest versions were revealed. The printing tests have proved that the basic design of this typeface is even more legible and economical than that of Times. The final appearance of Lido STF was, however, tuned up without regard to the original assignment – the merrier-looking italics and the more daring modelling of bold lower case letters have been retained. The typeface is suitable for all periodicals wishing to abandon inconspicuously the hideous system typefaces with their even more hideous accents and to change over to the contemporary level of graphic design. It is also most convenient for everyday work in text editors and office applications. It has a fairly large x-height of lower case letters, shortened serifs and simplified endings of rounded strokes. This is typical of the typefaces designed for use in small sizes. Our typeface, however, can sustain enlargement even to the size appropriate for a poster, an information table or a billboard, as it is not trite and at the same time is moderate in expression. Its three supplementary condensed designs correspond to approximately 80% compression and have been, of course, drawn quite separately. The intention to create condensed italics was abandoned; in the case of serif typefaces they always seem to be slightly strained. I named the typeface dutifully "Lido" (after the name of the newspaper) and included it in the retail catalog of my type foundry. In order to prevent being suspected of additionally turning a rejected work into cash, Lido STF in six designs is available free of charge. I should not like it if the issuing of this typeface were understood as an “act out of spite” aimed against the venerable Times. It is rather meant as a reminder that there really are now alternatives to all fonts in all price categories.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

MIX QUIRKY QUILL is not your average font. Inspired by the old archival books and documents from the days of yore, MIX QUIRKY QUILL brings a touch of history and tradition to your designs. With its clean, slightly italicized letters, this font is the perfect choice for projects that aim to evoke a sense of timelessness. Think of the old record books in church archives, the documents from Ellis Island, and pre-technology paperwork. MIX QUIRKY QUILL is reminiscent of these timeless pieces, making it ideal for art events, classic artwork, theatre posters, and anything that demands an air of tradition and classic sophistication. But don’t let its historical roots fool you. MIX QUIRKY QUILL is a perfectly imperfect digitized handwriting font, with a playful and fun flair that makes it stand out. Its clean lines and slightly italicized letterforms provide a touch of sophistication, while its charming imperfections add a touch of personality. This font is perfect for use in earthy, classic palettes such as browns, creams, and ink greens. Whether you’re looking to create a vintage-inspired design or a modern, quirky take on tradition, MIX QUIRKY QUILL is the font for you. Add Quirky Quill to your design arsenal today and see what story you can tell! MIX QUIRKY QUILL comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;'”,.\|/ {}“”‘’-–—_…‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§№† ÁÀÂÄȦÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢIÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇ ÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäȧãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣıíìîïīįĵḱǩłḿṁńñň óòôöõōőøœṕṗŕřṙśŝšşșťṫțúùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ Alternates/Ligatures: & j gg kk ll lt mm nn oo th tt

Richard J. Neutra became an icon of Modern architecture as an artistic visionary, social commentator and outspoken defender of the environment. He refined his unique approach to design, for which he coined the term biorealism, over half a century ago. Regarding humankind and its surroundings as two inseparable halves to a greater whole, Neutra created habitats with the welfare of man and nature as his utmost concern. His ideas of evolutionary growth and adaptability compelled House Industries to develop Neutraface Condensed, built upon the original typeface and driven by the enduring spirit of the revolutionary who inspired it. “I have tried to be a feeling observer of life in all its manifestations, not a cold rationalist.” House Industries adopted this precept of Neutra as the guiding principle when the foundry commissioned Christian Schwartz to draw Neutraface Condensed. Instead of being exactingly compressed, the new companion fonts were composed around a complementary structural framework in order to better reflect the sensibilities of their predecessor. The result is an individualistic design with a restrained exuberance that shuns stylistically ersatz imitation. This compact yet lively presence allows Neutraface Condensed to lend flexibility and economy to headlines without sacrificing the simplicity and charm of the original. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Aqueo™ is a versatile display font family inspired by the cylindrical wireframe of a water glass. The one-sided round corner details added a contemporary feel to this unique typeface. It comes in 6 weights and 12 styles. To ensure the accuracy of the letterforms, we painstakingly drew a master set for each weight. And with over 1,350 glyphs each, Aqueo™ fonts support most Latin-based languages and feature an extensive set of stylistic alternates; The standard uppercase set takes more traditional forms, while the alternate uppercase set sports unorthodox lowercase forms. The standards exude confidence and dependability yet are friendly and approachable, and the alternates elicit more fun, quirky and whimsical. The More Opentype Features, the More Zing for Your Design Projects. Aqueo™ Display Sans Serif comes loaded with Opentype features such as case-sensitive marks, punctuations and mathematic symbols. It also has an extensive set of discretionary ligatures, stylistic alternates, and over 80 essential UX/UI icons, each in three design options. These various Opentype features help improve your user experience, streamline your workflow, and unlock a broader range of typography details you can choose for your design. If you’re looking for a unique contemporary typeface, try Aqueo™ on your packaging design, logo design, infographic, print design, store signages, and UX/UI projects today! To find out more about Aqueo™ Opentype features and type specimens, please visit https://r9typedesign.com/aqueo-font-features-specimen

Albion Signature is a value packed font of exceptional character, with lots of old world charm to make your next project personal and special. Containing over 2,200 glyphs, it’s large enough to handle any demanding project, big or small. It also contains over 400 flourishes in three sections (dingbats, geometric shapes, and misc. geometric shapes) in numerous styles, that can be used in endless combinations. It’s like several fonts in one. Everything you need to do a stellar project is included. A script font that lines up perfectly with a few extra endings and hidden treasures spread throughout. It also contains a complete easy to use PDF index, so you will be able to find exactly the glyph you are looking for fast. This font can only enhance the fonts that you already own, making them more versatile and useful. On its own, it is a very elegant calligraphy script, that will make every project you create look great. The capital letters overlap and intertwine just like in days gone by, for a unique style. Also included are tools that can give you very precise spacing, right inside a word processor. Usage: Photoshop styles, InDesign, personal promotion logos, monograms & signatures.... That’s where it shines, yet it’s still great for art, cards, fancy documents, really fancy labels & even notes to Mom. Imagine, most people used to write letters like these at one time. Now you too can have documents that look like the work of a studied penman.

Esfand is a modern Sans Serif font family in three weights, Light, Medium and Bold.The Esfand innovation is a contribution to the modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Esfand supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Esfand Font family is available in Three weights; Light, Medium and Bold. Its intuitive design arrangement fulfills the following needs: - It is precisely crafted for use in electronic and print media. Esfand is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Esfand is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Esfand's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. - Esfand is an eye-catching and classy typographic image that was developed for multiple languages use and writing conventions. - Esfand uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Esfand typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

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.

Averta Standard is the basic version of Averta. Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) Averta is a geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta Standard is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta Standard an excellent tool for a range of uses, from signage to branding and editorial design. Averta Standard comes with alternate glyphs, case sensitive forms and contextual alternates, in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta Standard PE (Pan-European: Latin, Cyrillic, Greek), Averta Standard CY (Latin and Cyrillic), and Averta Standard (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

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.

Neufile Grotesk has its roots in some of the earliest commercially available sans-serif typefaces. This highly legible sans-serif design is well-suited for many display and text-based typographic uses. Users can apply the fonts effortlessly to a large number of messages and media, from advertising to book design. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s eight static OpenType font files instead. Those weights run from Extralight through Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Neufile Grotesk Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the eight static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Whichever format you choose, the Neufile Grotesk fonts include several sophisticated OpenType features. In addition to standard ligatures, there are a few discretionary ligatures and a stylistic set replacing “a”, “g”, and “R” with geometric-sans-style forms. Other features include numeral variants – there are proportional and tabular versions of lining figures and oldstyle figures – as well as fractions and numbers in circles. The fonts have arrows and a feature for setting case-sensitive forms, too.

Franz Kafka’s manuscripts have always been a source of inspiration for designer Julia Sysmäläinen. At first she was just interested in literary aspects but later she noticed that content and visual form can not be separated in the work of this ingenious writer. Analyzing Kafka’s handwriting at the Berlin National Library, Julia was inspired to design the typeface FF Mister – by now a well known classic. Over the years, FF Mister K became a handsome typeface family and even produced offspring: the Josef K Patterns. Some of Kafka’s most expressive letterforms were the starting point for these decorative ornaments. How do the Patterns work? Outlines and fillings correspond to the uppercase and the lowercase letters on your keyboard. You can use them separately or layer them on top of each other. If you write a line of “pattern-text” in lowercase and repeat it underneath in uppercase you get a row of fillings followed by a row of outlines. Now you can color them and then set line space = 0 to get a single line of layered colored ornaments. Alternatively, activating OpenType / stylistic set / stylistic alternates will also unite the two lines to a single layered line. Further magic can be done with OpenType / contextual alternates turned on. On the gallery page of this font family is a downloadable Josef K Patterns.pdf with an alphabetical overview of forms. Hundreds of patterns are possible … we’d love to see some of yours and present them here on the website!

Martin Wilke’s underrated yet influential deco classic from 1932 has both feet firmly planted in the high traditions of Western European calligraphy while carefully and subtly introducing some traits from the sweeping geometric/minimalist vision of the time. In a way, it was one of the representatives of the European anti-type typefaces of that era, when print media was searching for the elusive aesthetic balance between humanism and geometry. This typeface enjoyed some popularity in Germany for a few years, and went on to influence further type designs in Holland and Italy. After the second World War, the black hole that swallowed a big chunk of Europe’s print culture, new influences and technologies overtook the scene, and selective historical emphasis ensued, highlighting some of the era’s designs and overlooking others. Further selective picking in the digital era all but buried Wilke’s body of work - unfairly so, because he was just as important in German type history as Bernhard, Post, Schneidler, Tiemann and Trump. The original metal Wilke Kursiv came in one weight. This digital version goes a long way in expanding on that original offering. Now Wilke’s masterpiece comes in three weights, and with a full Pro treatment including swash caps, small capitals, five types of figures, automatic fractions, and plenty of other OpenType niceties. Each of the Wilke Kursiv Pro fonts comes with over 700 characters, and contains support for most Latin-based languages. Also available are three non-Pro fonts in each weight.

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.

Aquawax Pro PDF Specimen Aquawax Graphic Project on Behance Created as a custom brand typeface in 2008 by Francesco Canovaro, Aquawax is one of Zetafonts most successful typefaces - having been chosen, among the others, by Warner Bros for the design of the logo for the Aquaman movie. Its logo design roots are obvious in the design details, from the blade-like tail of the Q and the fin-like right leg of the K to the intentionally reversed uppercase W, as well as the rounded edges softening the stark modernist lettershapes. While this details make the typeface extremely suitable for logo and display design, especially in the bolder weights, the open, geometric forms of the letters and a generous x-height make it extremely readable at small sizes, making it perfect for body text and webfont use. In 2019 the family was completely redesigned by the Zetafonts team, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics to the original six weights, for a total of 27 weights (including 9 pictograms). The restored and revamped version, named Aquawax Pro, also includes full Open Type features for Positional Figures, Stylistic Alternates, Discretionary Ligatures and Small Caps, and adds to the typeface new alternate glyph shapes, accessible as Stylistic Alternates. Optimized for maximum screen readability, it covers over 200 languages that use the Latin, Cyrillic and Greek alphabet, with full range of accents and diacritics.

Kolbano is a visually captivating typeface that is renowned for its distinctive and expressive letterforms. Designed with meticulous attention to detail, each character in Kolbano Font possesses a unique shape, making it an exceptional choice for creative and artistic projects. The font's design philosophy centers around providing a harmonious balance between elegance and personality. The letters in Kolbano are meticulously crafted with fluid curves, sharp angles, resulting in an eye-catching and memorable visual experience. Every character stands out on its own, showcasing its own individuality and artistic flair. Whether used in headlines, logos, or other design applications, Kolbano is sure to make a lasting impression. In addition to its regular upright variant, Kolbano also offers a captivating italic style. The italics add a dynamic touch to the typeface, imbuing the text with a sense of movement and energy. The slanted letterforms maintain the unique shape of each character, preserving the font's distinctiveness while introducing a sense of flow and elegance. The italics are perfect for emphasizing words, creating emphasis, or adding a touch of sophistication to any design. Kolbano s versatile and adaptable, suitable for a wide range of creative projects. Its aesthetic appeal makes it ideal for editorial design, branding, packaging, posters, and any application where typography plays a central role. The font's versatility allows it to effortlessly adapt to various design themes and concepts, whether it be modern and sleek or vintage and nostalgic.

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!

Avenir Next Paneuropean is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 56-font collection offers condensed and semi condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®.

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.”

Iranica is a new creation of Naghi Naghashian. It is extremely legible even in very small size. "Iranica" is reminiscence to my birthplace and my cultural root. Iranica is a modern Sans Serif font family. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Iranica supports Arabic, Persian and Urdu. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography. It also includes proportional and tabular numerals for the supported languages. Iranica design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Iranica's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Iranica was developed for multiple languages and writing conventions. Iranica supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Garrigue is a sans-serif typeface, it's inspired by the typography of German rationalism of mid XXth century, the base version is combining this rationalism with more organic elements, while Garrigue Sharp is simpler, ideal for technical applications. The OpenType functions allows near 700 different combinations of ligatures in Capital letters, which gives to text interesting patterns and a lot of dynamism in 100 different languages, including cyrillic. The family contains different stylistic alternates which gives more flexibility to the typeface. The Garrigue family includes 14 weights, seven styles from Thin to Black in Normal and “Sharp” version. Each font includes OpenType Features such as Discretional Ligatures, Proportional Figures, Tabular Figures, Numerators, Superscripts, Denominators, Scientific Inferiors, Subscript, Ordinals, Standard Ligatures, Stylistic Alternates and Fractions. Larsseit family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Jasna is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Jasna supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Jasna Font is available in two weights, Jasna Regular and Jasna Bold. Jasna design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Jasna is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today's technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Jasna's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Jasna was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Sirba, a serif typeface family with a friendly personality, was conceived especially for the demands in complex text environments like dictionaries, academic texts, annual reports, novels and magazines. It has many design features that were particularly designed with Sirba’s purpose in mind. Because of its open counters, the large x-height and its short ascenders and descenders, this typeface conveys a pleasant reading experience and high legibility even in small sizes. Sirba is a low-contrast typeface, contemporary but with a classical touch, revealing its beauty in design details, such as the asymmetrical bottom serifs, curved bracketing and calligraphically reminiscent terminals. Furthermore, the capitals appear integrated into the text, thanks to the low cap height, and the constant width of all tabular numbers between the weights make this typeface very usable in annual reports and tables. Sirba is available in the four classic styles plus a special heavy (Black) version, which is particular in that its proportions are designed so the counters remain big enough when set in very small text sizes. This means that Sirba Black’s spacing and letter width are rather generous in comparison to other typefaces of that colour. This ensures excellent legibility. During the design of the typeface family, much attention was given to the italic and regular as counterparts of each other. The italic distinguishes itself just enough while reading without creating strange spots within the text when looking at the text as a whole.

Lydia Sans™ is an elegant geometric sans serif with a charming profile and organic flow. Inspired by the clean typography of the 1920s, it's character and legibility make it suitable for any kind of text applications, from brand design to extensive text layouts. Lydia Sans™ has 22 styles, variable font technology and its weight range spreads from hairline to ultra bold forms. Flexible and adaptable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1300 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localised forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. As a workhorse type system, Lydia Sans™ is a sans serif for everyday use and a great choice for a wide range of applications. • Suggested uses: perfect for brand design, editorial design, web design and packaging design; • 22 styles: 11 weights + 11 italics. • 2 variable fonts; • 1315 glyphs in each weight; • OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive forms, Glyph Composition, Discretionary Ligatures, Denominators, Fractions, Standard Ligatures, Lining Figures, Localised forms, Numerators, Oldstyle Figures, Scientific Inferiors, Small Capitals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets).

Funky Sign - Groovy Hipster Font is an eye-catching display font that exudes retro charm and groovy vibes. With its pop, fancy, and colorful styles, this font offers a fun and playful typographic solution. It comes in two versions: clean and textured/rough, providing versatility and creative options for various design projects. Funky Sign is the perfect choice for creating captivating posters, logos, landing pages, titles, headlines, stickers, branding materials, cards, and any project with a music or funky theme. The Funky Sign font stands out with its funky and hipster-inspired style, bringing a sense of nostalgia and vibrancy to your designs. The clean version offers a polished and sleek look, while the textured/rough version adds a touch of authenticity and edginess. Whether you're designing a poster for a music event, creating a logo for a trendy brand, or crafting a funky landing page, this font will infuse your designs with a unique and dynamic flair. With Funky Sign - Groovy Hipster Font, you have a versatile and lively typographic tool at your disposal. Its retro and groovy styles, along with the clean and textured versions, offer endless possibilities for designing captivating visuals. Whether you're working on a music-themed project, creating funky branding materials, or designing eye-catching posters, this font will bring a unique and vibrant touch to your designs, setting them apart with its distinctive and playful appeal.

Rothek is a geometric sans serif type family with a strong and unique character. It comes in 22 weights — 11 uprights and 11 italics — and is a perfect tool for any designer who needs a versatile font for a variety of projects. While retaining its uniqueness and whimsicality, Rothek is highly legible even at smaller weights, which makes it a perfect fit for app and web design. But what’s really great about Rothek is its OpenType features, which make it really stand out. Not only does it know how to do fractions, but it also does subscript and superscript; it’s equipped with case-sensitive punctuation, which adjusts the height of your parentheses, hyphens (and many more) to the height of your capital letters. But there’s still more: Rothek is loaded with various figures — from default proportional numerals to oldstyle figures, tabular figures and tabular old style figures. Throw in a bunch of stylistic alternates and you’ve got a perfect typeface for any project. Rothek supports all European languages and Vietnamese. On top of that there’s Extended Cyrillic set for most Slavic languages. As a cherry on top, there are stylistic alternatives for selected glyphs both in Latin and Cyrillic layouts and lots of extra symbols to work and experiment with. With 900+ glyphs in each style, Rothek is a perfect workhorse font for those who need a modern sans serif font with a strong character. Two weights are free to try and use!

When Patricia Lillie was growing up, she thought the coolest thing in the world would be finding her own name listed in a library catalog. The fantasy came true in 1986 when her first children's book was published. Five more followed. The thrill of seeing her work on library shelves hasn't abated, but today, Lillie is just as likely to see one of her typefaces on the cover of a book. She has created several display faces and image fonts. My first typeface designs were based on lettering I'd done while working for a library, doing graphics work for the children's section," she explains. "I currently do a lot of web design, but type is my favorite thing." The Tickles (ITC Tickle and ITC Tickle Too) are Lillie's first ITC typeface releases. "I was playing around with a Sharpie marker one day and liked the way the letters looked," she recalls. "I started redoing the letters from scratch in Fontographer to see what developed, and liked those letters too." ITC Tickle is a bi-form font (with both cap and lowercase letters of the same size) that clearly breaks a typographic rule or two. ITC Tickle Too has the same basic lettershapes, but they've grown clusters of stipples that give a three-dimensional quality to the design. The result is a friendly, offbeat display family that's guaranteed to add a giggle to your work."

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Thai family has 4 fonts in total. It spans four weights from light to bold. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity.

Hostrange is a captivating handwritten font that brings a touch of authenticity and personality to your designs. With its brush-style letterforms and varying brush stroke thicknesses, this typeface captures the essence of handcrafted charm. The special feature of this handwriting lies in its dynamic brush stroke variations, where each letter showcases a range of thicknesses. This adds a sense of organic movement and visual interest to the font, mimicking the natural variations found in hand-drawn brush calligraphy. The result is a font that feels alive and full of character. The brush strokes create a natural and flowing appearance, as if they were crafted by hand with a brush. The varying thicknesses add depth and dimension, enhancing the font's authenticity and handcrafted feel. The letterforms of Hostrange strike a balance between legibility and artistic expression. While each letter maintains its distinctive shape, the varying brush stroke thicknesses bring a sense of uniqueness to each character. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Hostrange fits in headlines, logos, posters, invitations, packaging, branding materials, or any project that calls for a handwritten aesthetic. 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.