Publica Play is Publica Sans’ and Publica Slab’s playful sister. It comes with loads of subtle open type features, tabular options, rare currencies signs and symbols and arrows – ‘Publica Play’ has everything you need for playful design tasks. Take a close look at our gallery (especially ‘OpenType Features 1–7’) to discover the versatility of Publica Play. Alternates and Stylistic Sets Give your typography a certain spin with the variety of alternate letters provided. Explore the Stylistic Sets provided. Currency You need to set prices in exotic countries? No problem: Publica Play gives you loads of rare currency symbols. Case Sensitive Forms Sometimes you write in all caps and there are some symbols (e.g. brackets) that need some extra treatment to make it look perfect – that’s what case sensitive forms are for. Figures Publica Play provides 6 sets of figures, like lining, tabular, oldstyle, numerators ... Discretionary Ligatures Ligatures can make your logo or headline look spicy. So there are plenty of them.

Dutch Mediaeval Pro ST is a special version of the popular Dutch Mediaeval Pro family, engineered specifically for science writing. It is equipped with SciType, a combination of additional characters and OpenType programming included in the fonts to help in typesetting science text. For more information about SciType, please consult the SciType FAQ available in the Gallery section of this page. The Dutch Mediaeval design is the historically renown one made in 1912 by S. H. de Roos. It stands out as one of the most classic Dutch text faces. This digital version comes in two weights and their italic counterparts. Aside from the SciType additions, all the fonts contain OpenType features for small caps and caps-to-small-caps, ligatures, ordinals, automatic fractions, seven kinds of figures, and a few ornaments. For details about the functionality of Dutch Mediaeval Pro ST, please consult its Access Chart PDF available in the Gallery section of this page.

German type designer Hans Reichel created this sans FontFont between 1995 and 2000. The family has 36 weights, ranging from Light to Black in Condensed, Normal, and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. In 1998, FF Dax received the The Big Crit award. This FontFont is a member of the FF Dax super family, which also includes FF Dax Compact and FF Daxline.

Roos ST is a special version of the Roos family, engineered specifically for science writing. It is equipped with SciType, a combination of additional characters and OpenType programming included in the fonts to help with typesetting science text. For more information about SciType, please consult the SciType FAQ available in the Gallery section of this page. The Roos design is the Dutch classic made by S. H. de Roos during the years of the second World War, and subsequently used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. This design is widely regarded as de Roos's finest, and has one of the most beautiful italics ever drawn. Aside from the SciType additions, all the Roos ST fonts contain OpenType features for ligatures, ordinals, automatic fractions, and seven kinds of figures. For details about the functionality of Roos ST, please consult its Access Chart PDF available in the Gallery section of this page.

Ascender™ Uni is a proportionally spaced comprehensive Unicode-compatible font with support for the Unicode Standard, v2.1 (supporting most major code pages and character sets in modern use). Ascender Uni is a 39MB TrueType (TTF) font with approximately 53,000 glyphs. The Latin and related glyphs (designed by Steve Matteson) are Sans Serif, with Gothic ideographs drawn in Japanese style, and complementary styles for other scripts. There are also versions of Ascender Uni that provide localized support for Korean, Simplified Chinese and Traditional Chinese. OpenType layout support is included for Arabic (initial, medial, final, isolate, and required ligature forms, as well as basic mark positioning), and vertical writing for CJK locales (consisting mostly of Latin, symbol, punctuation, and kana glyph variants). Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish), Chinese, Japanese, Korean, Thai, Vietnamese, Hebrew, Arabic. NOTE: Not all applications provide complete support for all the glyphs in this Unicode font.

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Amika™ is a rational geometric sans serif with an engaging personality and a contemporary profile. The large x-height, minimal contrast and the double storey 'a' makes Amika™ a highly legible typeface suited for any kind of text applications, from display poster type to massive text layouts. Amika™ has 22 styles and it's a workhorse type system. Versatile and reliable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1280 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localized forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. With a tectonic touch, Amika™ is a prototypical sans serif of the New Media age that, due to its extensive set of features, conveys a great choice for a wide range of applications, from branding to broadcast.

Introducing Disassembler—the ultimate simulated bitmap typeface that will transport your message straight back to the 8-bit era. With its distinctive letterforms and retro computer theme, Disassembler will add an extra level of authenticity to your designs, giving them that low-resolution voice that was so iconic of the time. The unique effects available with Disassembler mean that your text will stand out like never before. Whether you want to create a glitch effect, add a bit of distortion, or just give your letters a more vibrant color scheme, Disassembler has you covered. But it’s not just the effects that make Disassembler so special—it’s the attention to detail. To achieve the original pixel font look, kerning is limited to full pixel increments. This means that each letter is placed perfectly to give your text that authentic, vintage feel. So if you’re looking to take your design projects back to the good old days of low-res graphics and 8-bit soundtracks, Disassembler is the typeface for you. Don’t settle for ordinary—make your designs extraordinary with Disassembler. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

As I contemplate the beauty of Subroc, my mind drifts to a melancholic state, reminiscing the memories of a bygone era. This debonair joined-marker script typeface embodies a nostalgic charm that is difficult to resist. If your application supports ligatures, Subroc’s custom letter pairs automatically substitute for a more natural look. The resulting effect is akin to a handwritten note from a long-lost lover, carefully crafted with every stroke. But what truly sets Subroc apart is its inconspicuous, granular texture. The grittiness of its design transports you to a different time, evoking feelings of nostalgia and carefree abandon. Subroc’s beauty is not for the faint of heart, as it carries the weight of a thousand emotions with it. But for those brave enough to embrace it, the result is a breathtaking amalgamation of history, art, and emotion. So let Subroc be your muse, and let your words flow freely, imbued with the essence of a bygone era. Let your message carry the weight of history, and leave a lasting impression on all who see it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Picture this: the smell of freshly-grilled shiitake mushroom burgers wafting through the air, the sound of sizzling plant-based steaks on the grill, and a cold drink in your hand. It’s barbecue season, and you want your message to sizzle just as much as your food. Enter Charbroiled, the scorched and antiqued typeface that will take your design to the next level. Inspired by the classic American Italic from 1902, Charbroiled has a rustic and natural design that will add panache to any message. But Charbroiled isn’t just any old font. Custom letter pairings are automatically swapped to achieve a more genuine look, giving your design that extra edge. With its bold and distinctive style, Charbroiled will make your message stand out in any setting. So fire up the grill, crack open a cold one, and let Charbroiled do the talking. Whether it’s for a barbecue invitation, a restaurant menu, or a summer sale flyer, Charbroiled will give your message the perfect touch of authenticity and style. Get your message across with Charbroiled, and make your design sizzle! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

In July 2014, using my light pen, I completed the work in designing the font - Nizar, which was named in honor of the great poet Nizar Qabbani who inspired millions through poetry and prose. The font depends mainly on the characteristics of the traditional Ruq'ah handwriting, but the spirit of the letters tend to embrace the distinguished style that we knew of the poet in his hand-written poetry books. Due to the fact that I could not find all the alphabets in the great poet's handwriting, I adopted the method of measurement and prediction for structure of the missing letters, Which resulted in a new style of the Ruq'ah Typeface; a closer look at the font highlights the common characteristics of all the usual Ruq'ah writings, which are the height of the character "Alef" and spaces and formation on the line, the contextual replacement and convergence of when a letter meets another, closed and open letters, letters coming down from the baseline, and the forms of dots. That been said, hidden touches in the details of Nizar Typeface can be observed, the characters are all dependent on one pen stroke thickness, and are attracted to the baseline as much as possible when vertically and horizontally formed, and the distance between words and lines grows leading to creating both an aesthetic and typographical touch distinguishing this font from the conventional Ruq'ah – which can be found in some of my previous Ruq'ah projects. It is important to mention that after the completion of the Arabic characters and punctuation, I began drawing the Latin alphabets, punctuation and necessary symbols. I cannot fail to also note that the Arabic characters include the Persian, and the Urdu characters. This Typeface is fit to be used in lengthy texts, especially in literary works, artistic print, and diverse visual display, giving the design striking features, modernity and distinction. Sultan Mohammed Saeed

Introducing Ethnocentric, the typeface of the future. With its sleek, ultramodern design, Ethnocentric is perfect for those looking to inject a high-tech feel into their projects. The outstretched pod forms of this accelerated font suggest rapid horizontal movement, making it the ideal choice for anything from tech blogs to cutting-edge product labels. But what sets Ethnocentric apart from other typefaces is its non-traditional, scientific sensibility. Sharp diagonal cuts and anomalistic gaps inject your words with a sense of experimentation and innovation, perfect for companies on the cutting edge of technology. If you prefer a more rounded style, be sure to check out Ethnocentric’s sister typeface, Quadrillion. But if you’re looking for something with a bit more edge, Ethnocentric is the perfect choice. With six weights and italics available, you’ll have all the versatility you need to make your project stand out from the crowd. Don’t settle for anything less than the best. Choose Ethnocentric, and take your designs to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Attention all designers and typographers! Discover the font that will take your work to the next level— Alphii. This sophisticated, angular typeface is the perfect blend of precision and simplicity. Its clean, straight lines exude elegance and sophistication, while its easy-to-read nature makes it the perfect choice for conveying serious technical information. Alphii is a typeface that means business. It’s the perfect choice for those who want to communicate with confidence and authority. With four weights and italics available, you can customize your message to suit your needs. Whether you’re creating a sleek corporate logo or designing a technical manual, Alphii has got you covered. So why settle for a font that just looks good when you can have one that performs? With Alphii, you’ll be able to communicate your message with precision and style. Don’t miss out on this incredible typeface—try Alphii today! Most Latin-based European, Greek, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Joachim Müller-Lancé's Uppercut is a rather sporting fellow, originally developed for the Krav Maga training center of San Francisco (Krav Maga is a simple and efficient self-defense system that has become equally popular in Hollywood and with law enforcement). Joachim has spent several years training, hitting things and people whenever he needs a break from kerning. Uppercut can be seen on the school's t-shirts and other articles. Despite bearing the same moniker as an upwards punch to the chin, the name actually fell together quite naturally as Uppercut is an all uppercase typeface, and the word "cut" is also historically used to describe a type style in hot metal type. For this slanted look, "Angle" felt just right (with thanks to Mia McHatton). The design idea sprang from pencil sketches for the center's new identity. Uppercut's shapes are not calligraphic or handwritten, more like lettering seen in comics or sports logos. Its brush movements are imaginary, not too literally brushy. During development, details were simplified and reduced until a bit of a cut-paper feel emerged, but more fluid like writing. The shapes are economical and efficient; simplicity makes the font versatile, holding up in small as well as big sizes. Uppercut is decidedly analog, muscular but not bulky, with the fluid but determined movements of a boxer or martial artist - not theatrical but powerful, fast, confident and dynamic. Well... it has punch. In the proportions, there is emphasis on a strong upper edge "keeping its guard up", while several stems protrude downward, giving the impression of leaping or being "light on the feet". Use Uppercut to pick up the pace, add snap, verve and drive - on movie posters for action and adventure, to advertise your dojo, rumble or prizefight, racing team or tuning shop, or invite friends to your barbecue with old time rock'n'roll and homemade hot pepper sauce.

The spirits have spoken! Introducing Gurkner—the bouncy, round display typeface with two distinct personalities. Say hello to well-behaved Gurkner—the ghost that always follows the rules and marches in a straight line like a row of obedient Caspers. But beware, because there’s also a mischievous side to Gurkner – a poltergeist on crack that loves to play pranks and bounce around like there’s no tomorrow! What sets Gurkner apart is its customizable pairings that automatically swap to create unique combinations for a more natural, springy look. It’s like having your very own ghostly friend who’s always up for a good time. Whether you’re designing for Halloween or just want to add some spooky fun to your project, Gurkner is the perfect typeface for adding a playful touch. So don’t be afraid to let loose and embrace the silly side of Gurkner. After all, who doesn’t love a font that’s equal parts mischievous and well-behaved? Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Gendouki, the ultimate futuristic typeface that will transport your designs to the cutting-edge of technology. With its striking filament stencil lines, reminiscent of spacecraft access panels, Gendouki is the perfect choice for projects that demand a bold and hyper-futuristic look. Imagine using Gendouki as a large, low-contrast backdrop element, setting the stage for your content to shine. The sleek and modern lines of the font will add depth and dimension to your design, creating a dynamic visual experience that’s sure to capture your audience’s attention. But that’s not all. Gendouki is also perfect for producing movement in your paragraphs when applied as a techno drop-cap. Watch as your text springs to life, animating your words and drawing your reader in with its captivating energy. So if you’re looking for a font that combines the sleek, hyper-futuristic look of a spacecraft with the sharp, clean lines of modern design, look no further than Gendouki. Try it today and take your designs to a whole new level of cool. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The world has ended, and all that remains is chaos and destruction. The remnants of civilization are scattered, and the once-great cities are now nothing more than ruins. In this post-apocalyptic wasteland, communication is more critical than ever. Your message needs to cut through the noise and grab attention, but how can you do that when everything around you is broken and damaged? Enter Octynaz—a typeface that perfectly captures the desperate spirit of this new world. With its severe damage and broken counters, Octynaz embodies the shattered landscape of the post-apocalypse. But it’s not just a broken typeface—in fact, it’s even more powerful because of its flaws. OpenType-aware programs will automatically substitute bespoke pairs to produce a grungy, realistic appearance that will make your message stand out. When you use Octynaz, you infuse your words with frantic authority and shattered vigor. You’re not just communicating—you’re commanding attention. Your message becomes a rallying cry for those who remain, a beacon of hope amidst the darkness. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hey there, looking for a typeface that screams “I’m spontaneous and creative, but also a little bit messy”? Look no further than Markerfield. This typeface is like the lovechild of a whiteboard and a permanent marker—it’s got that super-satisfying squeaky texture that you can almost feel in your fingers. But wait, there’s more! If your program supports OpenType ligatures (which, let’s be real, it totally should), Markerfield will automatically swap in custom pairings to make it look even more like you just scribbled this message on a whiteboard during a brainstorming session. And let’s not forget about the most important part—the message itself. With Markerfield, your words will have an instant aura of authenticity and urgency. It’s like, “Hey, I may not have spent hours crafting this message, but that’s because I’m a busy person with important things to do!” So if you want to inject some playfulness and spontaneity into your designs (or just make your coworkers think you spent all day brainstorming on the whiteboard), give Markerfield a try. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the world of horror! Meet Croteau, the scariest typeface you’ll ever lay your eyes on. This font is inspired by the 1960s horror movies, so you know it’s going to be good. Use it to enhance the horribleness of your message and terrify your audience. With 250 spooky bespoke ligatures, Croteau can produce an intriguing interlocking letter effect that will give your design an eerie look. The letter pair ligatures help break up the monotony of plainly repeating characters, adding an extra layer of horror to your design. Use this OpenType-savvy app to create an unforgettable experience for your audience. But beware, turning off the “standard ligatures” functionality in your app may eliminate this effect. So keep it on and let the horror unfold. Step into the world of horror with Croteau, and give your designs a spine-chilling twist. Get ready to be scared out of your mind! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Recharge—the bold and versatile industrial typeface that’s designed to make your words come alive! With its broad, square design, Recharge is perfect for creating explosive headlines that demand attention. But don’t be fooled by its brash exterior—the refined lowercase letters are also ideal for producing crisp, legible paragraphs that will keep your readers engaged. What really sets Recharge apart are its unusual angled stroke ends, which give the typeface a unique and dynamic character. These distinctive details make Recharge a great choice for a wide range of themes, including sports, military, space, automotive, electronics, and other technological subjects. Whether you’re designing a bold and eye-catching advertisement or a sleek and modern website, Recharge has you covered. With seven weights and italics to choose from, you can easily create the perfect balance of weight and contrast to suit your needs. So why settle for a boring, generic typeface when you can use Recharge to make a bold statement? Try it today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

A mediterranean style sanserif in 4 styles The original idea of Costa was to create a contemporary mediterranean typeface style. Costa is a synthesis of the purity, as found on Greek capitals, and softness, found in Renaissance scripts. First thing was the design concept that take its roots on the Chancery script. Such writing style appeared during Italian Renaissance. Later few typefaces have been developed from such cursive models. Today most serifed typeface italic take their roots on such triangular structure we can find on gylphs like the n, p, or d. The Costa capitals remains close to pure sanserif models when the lowercases features an ending serif on many letters like the a, n, d, etc. This ending serif being more like a minimal brush effect, creating a visual contrast and referencing the exoticness of the typeface. Knowing that the Costa typeface family began life in the 90s as a bespoke typeface for Costa Crociere, an Italian cruise company — it suddenly makes sense and explains well why Jean François Porchez focused so much on Italian Chancery mixed to a certain exotism. The curvy-pointed terminals of the Costa n can obviously get find on other glyphs, such as the ending of the e, c and some capitals. So, the sanserif looks more soft and appealing, without to be to pudgy or spineless. The general effect, when set for text, remains a sanserif, even not like Rotis Semiserif. Costa is definitly not a classical typeface, or serif typeface which convey past, tradition, historicism as Garamond does beautifully. Because of the Costa crocieres original needs, Costa typeface was designed to be appropriate for any uses. Anytime you’re looking for good mood, qualitative effects, informal tone, cool atmosphere without to be unconvential or blowzy, Costa will convey to your design the required chic and nice atmosphere, from large headlines sizes, brands, to small text sizes. It’s a legible typeface, never boring. A style without neutrality which doesn’t fit comfortably into any typeface classification! Does it proves the novelty of its design and guarantees as well as its originality? Its up to you to be convinced. Barcelona trip Originally not planned, this need appeared because of a trip to Barcelona at the time of the project, where Jean François was giving a lecture. He wanted to pay an homage to that invitation to create something special. So, he designed during his flight some variations of the Spanish Ch, following ideas developed by the Argentinian type designer Rubén Fontana for his typeface called Fontana ND (published by the Barcelona foundry Bauer). Then, he presented during his lecture variations and asked to the audience which design fit the best to their language. They selected the design you can find in the fonts today. Read more about pairing Costa Type Directors Club 2000 Typographica: Our Favourite Typefaces 2004

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

Say hello to **Serendipity** - A font that you were meant to find, and is now destined to be with you :) An elegant cousin of Saturday Script, Serendipity is a lovingly handwritten brush script , with an air of grace and flamboyancy. **Serendipity** is special in that one word can be written in a million different ways - thanks to the large selection of extra letters that it has built in. It comes with 2 sets of alternate lowercase letters, a set of alternate uppercase letters as well as a set of double letter ligatures - all for you to play with, and make your words look exactly how you need them to look. Perfect for Type-based creations, branding, websites, merchandise, packaging, quotes, invites, greetings and so much more, Serendipity will take you where you need to be. The brush script comes in 2 variants - Regular, and Wide each with its own unique feel.

Virgin is a hybrid typeface with a Victorian spirit, based on script forms of Romanesque ornamentation. With his rich variety of stylistic forms, ornaments and catchwords, Virgin is a chance to create completely new texts, varied and elegant. About 1100 Glyphs allow users to create words out standard, thanks to its Opentype programming in countless combination of alternates. The variety of styles makes it easy to create texts according to your taste and use because Virgin offer an unlimited combinations of stylistics alternates. Virgin is ideal for humanistic texts, tourist ads, liquor and wine labels, fashion and even for cosmetic purposes. Virgin is presented in solid and inline version, and a basic version for web in lighter weight, also providing a refined collection or ornaments and catch Words. Virgin has been specially designed for logotype, packaging & publishing design project. Virgin evokes the richness of nature in its biodiversity.

Introducing Salitia – A brand-new serif with a complete dot swash! Salitia is a modern serif family featuring tightly-spaced serifs reminiscent of the 80s and 90s, making a stylish comeback. We aimed to create the perfect font for you too! With 6 style families (Thin to Black), unique ligatures and beautiful alternates this font suitable for short text and long word such as headlines, logos, UI design, magazine text, product descriptions, and other design needs What's Included? Salitia Main File 175+ Special Alternates and Ligatures Instructions (Access special characters in all apps, even in Cricut Design) Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thanks Dharmas Studio

Typographers — and clients alike — are often obsessed with novelty. Be it self-consciously peculiar details with made-you-look appeal — or just austere, detached minimalism, constant seek for novelty in typography often becomes an end in itself. A lot of times, an old trick is better than a bagful of new ones — all you might actually need would be a good, reliable font family with soul, providing that comforting, familiar feel. This is where Forrest comes in: a type family born out of a lifelong passion for digging into old archives of fonts, in search for that good ol’ type — simple, honest, made with love. But make no mistake, Forrest is as savvy as fonts come, packed with smart features. Handsome swashes, cute small capitals and old style figures all add a bit of flair and enable a highly sophisticated and contemporary approach to typography.

Eksperiment is danish for experiment. Without much guessing or knowledge to danish, you probably already knew that! I like those danish words containing a "k" - is it because my name is spelled with a "k"? I don't know - maybe it's because it kind of represents the danish language, which is full of words with "k"s. Anyway, the reason for the name is that I wanted a font looking like it had gone through tough times, a bad copy machine and perhaps even crumpled paper...but the experiment is that the font is 100% made using digital media. I used my MacBook and my iPad creating this font. I find it quite amusing, that something 100% digital looks like something organic. I've added 5 different versions of each letter, which is really helpful when working with grunge fonts. It looks more natural, when the same letter rarely repeats itself.

ABTS Crestwing is a unique initial font with extraordinary flexibility and beauty. There are 5 wing styles to choose from. The wings are accessed through typing numbers. The 5 pairs are: [1, 2] [3, 4] [5, 6] [7, 8] & [9, 0]. The odd numbers in the pairs will give you a left wing, and the even numbers will give you a right wing. The letters are separated into upper and lowercase. Uppercase has a crest point, the lowercase does not, giving you the ability to string letters together to form words and phrases, and place the tip of the crest above the letter of your choosing. Optional endcaps are available using the brackets on your keyboard "[, ]." This allows you to cap off a word if you wish not to use a wing to do so. Crestwing is both beautiful and unique, and works best at large sizes.

OBO Star is a fat, subtly flared display typeface with a not so subtle groove factor. The letters are based on a square and do not have ascenders or descenders. This way the typeface can be used for horizontal and vertical settings, or mixed like crosswords. There are a few exceptions for certain punctuation and special characters that are half the width for better spacing; and the word space’s width can easily be adjusted through OpenType stylistic sets. Talking about spacing, for strictly horizontal typesetting there is the option to turn on kerning for a number of characters to create a more optimal texture across words and phrases. But that’s all just technical talk. The true character of OBO Star is the funky look, amplified by the wide 1x1 format that creates space for unconventional shapes, mostly pronounced in the letters R, K and G.

Facttoria Script is a bold logotype font. Drawn and created by Toni Studio and Mans Greback in 2022, this calligraphic lettering has a thick character and a strong personality. The Facttoria Script typeface comes in Regular and Italic, and is perfect for a vintage logo or classic headline. Use # after any word to make a tail. Example: Signature# Use _ anywhere in a word to make a swash. Example: Love_letter Use multiple underscores to make different swashes. Example: Hand_____writer The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

A typeface for telling stories. After seven years through which Rodrigo Saiani worked on Dupincel, Plau’s team still had months of dedication until found a good way of summing up this typeface. All this effort was rewarded, though, when we came up with a motif that gave Dupincel the grandiosity it deserves. Telling stories is this typeface’s gift because it has the emotion for it, resources for it and the breadth for it. Like all that wasn’t enough, it has the scale for it: optical sizes Small, Medium and Large make Dupincel optimized for stories of every length. From short stories displayed big or long stories on small letters. We don’t want to dictate the types of stories either, anything goes. But if ornaments make a good fit with that story, we will be even more thrilled. In the end, Dupincel makes us want to find new stories to tell.

Hi. Introducing a new version of my one of the most popular fonts. Now Humblest Pro includes much more characters and has west european multilingual support. This font has a smooth and clean shape without any grain unlike the original one. Almost all of the capital leters has two version, for the begining and for the ending of the word. The final alternative letter will be automatically replaced if you type a big last letter in the word (check out if the "contextual alternates" opentype feature is activated). Decorative swashes are now a part of the font. To use this decorative lines just type an underscore character and the corresponding number from _00 to _39 (make sure that “standard ligatures” opentype feature is activated). Also a lot of ligatures for small letters are available, please check out the previews with all available glyphs. Thank you and have fun!

What comes to your mind if I say Architype, Geometric, Gaelic, and Uncial? An impossible combination of features? An unrealistic setup of tastes as weird as your music list? Or some part of a joke told by your favourite comedian? Just chill and stick to the idea that is possible. Gallos combines the conceptual historical elegance of the Uncials with the practical rationalism of the Geometric style. Moreover, this typeface is composed by two sub families: Gallos Uncial and Gallos Architype. The letters “M”, “N”, “W”, “a”, “m”, “n”, “r”, and “w” differ between these two models. The first one is related to both: The Uncial script aspect displaying the leaned “a” with a closed bowl, and the classical geometric style depicting more conventional uppercase and lowercase letters “m” and “n”. The Architype one is inspired by Paul Renner’s Architype model, thus the leaned “a” has an open counter, the “r” is composed by a stem and a dot, and the rest of the mentioned letters were built using square rational features. Both models are connected by classical Uncial features such as the curved stroke “e” and curved shaft “t”, and with Gaelic vibes which can be seen in uppercase and lowercase letters “K” and “X”. Also, the curved descender “g” and “y”, alongside the curved stem “z” connect really well with the rest of the system and provide more uniqueness to the Gallos type family. Without further ado, we say to you: let’s make Uncials popular again!

Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink Neue is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink Neue adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. With three different widths, Flink is a true all-rounder. Geometric fonts are usually quite wide, which often leads to text-settings problems with headlines or small print. The Condensed and Compressed variants of Flink Neue solve this problem easily. This font family comes along in 18 weights from Thin to Black with matching Italics. There are almost 1400 characters per style, including nine stylistic sets that offer variations to the look and feel of Flink Neue, making it even more versatile. Besides the default mood of Flink Neue, there is also a Text and Bauhaus variant, where different letters have been changed to create a new mood. In theory, you just need one single font file to change between all three moods, but to make it easier for you, we also exported each mood within a separate file. Plenty of additional Open Type Features like ligatures, small caps, case sensitive forms, old-style figures, tabular figures and symbols make Flink Neue a valuable tool for the discerning typographer. Flink Neue is the reimagination of a classic genre, designed to suit the needs of our time.

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

Castile is a central region of Spain that formed the core of the Kingdom of Castile, under which Spain was united in the 15th and 16th centuries. "Castile" is a Kufic modern Arabic typeface. It is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It is very distinctive when used in black and white printout. It decorates colored pages and makes artworks more attractive. This font comes in three different weights. I adore Spain and the historical achievements of the Islamic civilization existed there in the past. By designing "Castile" Typeface, I wanted to refer to the Islamic civilization that Muslims had in Spain and especially in Andalusia. Today the name of Castile survives in two autonomous regions of Spain: Castile-La Mancha (capital city is Toledo) and Castile-Leon (capital city is Valladolid). The main characteristic of "Castile" Typeface is in its modern open-end style for some of its Arabic characters such as "Sad", "Dad", "Seen", "Sheen", "Qaf", "Faa", "Yaa" and others. The shape of the characters' "dot", "dots", and "point" is innovative; a triangle with a semi-circle shape. "Castile" Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its charactersí modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitionsí signboards and external or internal walls of malls or metroís exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.