Allegroost is a handwritten font that uses a large brush in a horizontal position, so that the brush strokes vertically make the size large, opposite the horizontal strokes the size becomes small. To add to the natural impression, we complete many ligatures that adjust handwriting such as: ob, oc, od, og, oh, oi, oj, ok, ol, om, on, oo, op, oq, or, os, ot, ou , ov, ow, ox, oy, oz, bo, bd, bg, bi, br, bu, by, ee, ii, ll, tt, th, tl, lt, it, ti, iti, ld, ts, st , mm, nn This unique handwriting is perfect for logos, quotes, posters, fun letters, for clothing, or any design project. Equipped with 28 language support makes your brand can appear in various parts of the world

Award winning 2017 font from Demark (Thailand) and G-Mark (Japan) in Graphic Design, MartiniThai Neue Slab is now available with better taste. Deltatype created a better version of MartiniThai Neue Slab V2: refined for better outline, we fine-tuned all outlines for better letterforms. Proportion were adjusted for better consistent. Metrics got new values for increased readability. Kerning, fine-tuned kerning pair for better spacing between the letters. MartiniThai Neue Slab V2 comes in six weights: Thin, Light, Regular, Bold, Extra Bold, Black. Thai Language is included in this package. MartiniThai Neue Slab is a unique slab serif in Thai Script that creates a sense of timeless and contemporary feel and is used by a media provider and nationwide in Thailand.

Elegant, graceful and timeless. Astorica is a versatile font family with timeless classic appeal, has alternatives & ligatures, multilingual support, (And we think this is our best work so far!) Each letter has been hand-drawn and made with great care. Weight variations provide a variety of options that will help you find the best typographic character for your project. All 6 weights are perfect for big screen use and high impact headlines. The binding and style alternatives available offer a number of different options that give your logo or business card a unique look. FEATURE 6 loads of Astorica High contrast 41 ligatures per capital letter weight and 30 Ligatures per lower case weight 10 alternate glyphs per weight Comprehensive language support Stay sweet, Sweetest Thing

In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe. Upscale and stylish, Didot Display is an essential tool for any designer involved in magazines, books, tasteful music, or overall luxury packaging that requires clean and large classic typography with an unmistakable modern spin. We recommend the use of Didot Display at 48 points and over. For 12-48 pt. use, check out its sister family, Didot Headline.

Bumsy, A new carefully crafted Heavy Sans Serif Typeface. It’s Versatile, Fun, Cute and Beauty feel that you get in Bumsy. Bumsy Created with the happy and fun feeling, so the looks it represent how we feel. Bumsy comes with 3 width : Condensed, Narrow and Regular. if you want more width, you can also use the Variable Width. Bumsy also comes with beautiful swashes, Every glyphs for alternates are curated for the best and possible without eliminate characteristic of this fonts. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, Magazine, Packaging, Food Menus, and etc. It shows that Bumsy clearly can accommodate various design style.

Julietrose debuted in May of 2006 and was quickly embraced by members of the graphic design community, who found it as charming as its name. The playful, full-bodied script began to show up in all forms of graphic communication. However, it soon became apparent that a bold weight would add more versatility to the design. Martin Wait, Julietrose’s designer, happily obliged by drawing a new and more forceful weight of the typeface. Where Julietrose is vivacious and lighthearted, Julietrose Bold is assertive and speaks with authority. They are clearly sisters, though – both weights feature flamboyant swashes and elegantly long ascenders and descenders. Both designs also offer a suite of swash and alternate characters, and are available in OpenType format The Julietrose family is small but irresistible. This pair can easily charm their way into such diverse uses as posters, restaurant menus, social announcements and even product brochures.

Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist typefaces of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Adobe Principal Designer Robert Slimbach, Arno is a meticulously-crafted face in the tradition of early Venetian and Aldine book typefaces. Embodying themes Slimbach has explored in typefaces such as Minion and Brioso, Arno represents a distillation of his design ideals and a refinement of his craft. As a multi-featured OpenType family, with the most extensive Latin-based glyph complement Adobe has yet offered, Arno offers extensive pan-European language support, including Cyrillic and polytonic Greek. The family also offers such typographic niceties as five optical size ranges, extensive swash italic sets, and small capitals for all covered languages.

Loaded with various auto-ligatures (primarily for ALL-CAPS typesettings), Troubled has all of the rebellious custom lettered attitude of a vintage pulp paperback. Troubled PB began as a digitization of a film typeface known as Toronado by LetterGraphics, perfect for typesetting early children books, candy packaging, toy packaging, birthday invitations, or any other playful design need. It's lowercase typesetting is straightforward and casual, with a light animated feel, while the all-caps typesetting goes wild with auto-ligatures galore to create wonderful and interesting interwoven letterform combinations. This typestyle has such an offbeat appeal to it that it just draws your attention. Great for headlines (especially in all caps settings), but also great for small bodies of text in mixed case setting. So whether child-friendly design pursuits, or reminiscing of vintage pulp paperbacks novels, Troubled PB has a little something for everyone.

Looking like happy frosting on a cupcake at a twiddle bug party, this bouncy food entry from Canadian designer Haley Fiege turns the original Jellybrush type into organic happiness you can spread on pancakes, ice-cream, sorbets, sauces and condements, oh peanut butter! Yeah, all kinds of sandwich fillings. Anything really. What else? People who own rubber factories. Anybody in the food business, like green grocers or your local bakery. Thrift stores. Falling somewhere between cushions and cat food, this flexible and inviting letter mixes simplicity with organic character and humor for a wide range of uses. Soft Serve’s compact cursive forms and bouncy friendliness draw on artbrush scripts and the typo-italic model of Renaissance Vatican scribe Ludovico Arrighi. A versatile workhorse ideal for: * Dairy & beverage * Sweets & soft drink * Five minute food & sauces * Pet food & accessories * Bathroom & kitchen * Cushions, pillows, rubber & swimming pool, etc.

Radium is a futuristic display face with a robust attitude and sharp geometric ideals. Drawing inspiration from computer games, graffiti and nineties dance music, Radium is a versatile typeface for branding, posters, packaging and point of sale. Radium is available in three weights and comes in OpenType (.otf) format for Mac and Windows. Features: Radium supports the following OpenType features: Standard ligatures, discretionary ligatures, ordinals, custom fractions, numerators, denominators, superscript, scientific inferiors, proportional and tabular lining figures, and a slashed zero. Supported Languages: Each weight has a 528 glyph character set for use in the following Latin languages: Albanian, Afrikaans, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Gaelic, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Norwegian, Occitan, Polish, Portuguese, Romanian, Sami, Serbian (Latin), Slovak, Slovene, Sorbian, Spanish, Swedish, Swahili, Turkish, Walloon and Welsh.

It took the Italian designer Antonio Pace more than five years to create Linotype Gianotten™, a successful new interpretation of the classic Bodoni types. To re-draw the 200-year-old characters for the world of modern digital technology, Pace studied Giambattista Bodoni's original punches at the Bodoni Museum in Parma. He felt that previous Bodoni interpretations were not well suited for body texts, so he focused his study of Bodoni's "Manuale Typografico" on the types made specifically for text sizes. Consequently, his Bodoni has strong hairlines, rounded transitions and shorter, fluted serifs - elements that help to achieve readability by providing an overall tranquil effect. This contemporary, highly readable family is an excellent choice for text settings in books, newspapers, and magazines. Incidentally, the name Gianotten has nothing to do with Bodoni, but was chosen by Pace and Linotype to honor Dutch typographer, Henk W. J. Gianotten."

The best way to radicalize your typographic expression is to use Blackletter! Gothic calligraphy had been used throughout all historical periods without much of the principal development the Latin typefaces underwent. However, since the invention of movable type, even now its slight variations over time can be seen. Blackletters are always used where emotions are required, be it spiritual literature, romantic novels, decadent poetry or extreme music. Dracula is a typeface dedicated to classical horror. I started to draw its letters along with my illustrations for Argo publishers in spring 2017. I needed a specific typeface for book cover and chapter titles to emphasize the mysterious atmosphere of the text. Sharp teeth and claws on a thin blackletter skeleton shall remind of the early vampirism in literature. Its slightly narrowed face enhances a thrilling feel of anguish and despair, whereas the darkest cut may work well on funeral announcements.

Just as its eponymous ancestors graced vast Western vistas, Buffalo fills broad horizontal typographic topography with distinctive dignity. Buffalo’s migration across a visual landscape that straddles two millennia saw it survive the threat of extinction similar to its mammalian ancestors and emerge with rotund relevance. Now fortified with modern character sets and digital flexibility, nothing espouses an artisanal post-western industrial craft renaissance quite like Buffalo. Legendary lettering artist and type designer Ed Benguiat created the original film version of Buffalo for Photo-Lettering Inc. Working under the direction of the current Photo-Lettering partners, Dutch type designer Donald Roos digitized and expanded Buffalo while expertly maintaining the organic nuances found in the original version. 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.

Annlie™ Extra Bold and Annlie Extra Bold Italic are two display faces designed by Fred Lambert in 1966 for the Annlie type family. These two samples from the Annlie family are both fat faces. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Annlie could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Annlie is a highly crafted typeface. Give it a spin in your next advertising campaign! Annlie’s fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

The Kennedy family is a completely original design, inspired by lettering discovered by George during his exploration of 16th century cartography, some years ago. The charm exhibited by these beautiful artifacts is as much reflected in the letterforms they employ as in the drawing style or content they present. After familiarizing himself with the offerings of the various printing centers of that period, George began work on a design which he called Marconova. This design continued to evolve until it began to take on the look of Dutch Oldstyle typefaces of a later period. At this point George re-christened his work-in-progress Kennedy, and added the Book, Book Italic and Small Cap companion typefaces. Only a small trace of its design ancestry is evident in the resulting typeface family. There is enough, however, to make them a unique entry in the collection of distinguished contemporary designs.

Some time ago, I started to think about the idea of combining my passionate hobby cooking with my profession as a graphic designer. While browsing through cooking books, cooking magazines and graphic publications I noticed that there were no symbols and drawings easily recognizable for interested cooks (hobby or professional). So I decided to create symbols for all the classical cooking paraphernalia still found in grand mother’s kitchen cabinet. René Menue Symbol contains 99 kitchen symbols of classical design and quality. To complement the symbols typographically, there is René Menue, a fitting linear Sans Serif typeface with plenty of extra characters such as ligatures, figures etc. René Menue is a modern, slightly condensed and economic design with round shapes, very modern but classical at the same time. These features make it perfectly usable in many different publications, not necessarily restricted to cooking… A successful cooking and enjoy your meal!

Velino is the most recent of our premium typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, especially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

The Eixample project is inspired by modernist signage of various examples found in the Eixample neighbourhood in Barcelona. The name of each subfamily is related to its location or to specific elements of the original sign. Dip is the abbreviation for Carrer Diputació (Diputació Street), where the original sign spells Farmacia Específicos Diputación. The reference taken from the pharmacy sign is a curious model, where sans-serif lowercase letters coexist with script uppercase. This fundamentals create the system that we have introduced in Eixample Dip. The capitals are built with contained decoration to achieve maximum compatibility between letters. The script capitals are the default uppercase but we have also included alternative capitals, a slab style that can be combined with the scripts. The narrow influence of the original sign is correlated with the Narrow styles of the Dip family. But for more versatility, Eixample Dip explores normal widths and weights as well. Furthermore an Inline version was added to the suite.

Alien Alphabet is inspired by the ideas of change, transformation, creative deconstruction and mutual penetration of various cultures, languages, and opposing cognitive systems, which seem to be prevalent in our 'globalized' civilization. It appears as various visual constructs -- archetypal symbolism, pieces of the world alphabets, socio-cultural icons, mathematical formulae, etc., -- broke down into pieces and were reassembled in a way that carried traces of previous meanings. However, this contradictory mutation invokes enigmatic meanings and emotions begging for further definition and interpretation. Alien Alphabet shapes arranged in linear sequential manner tend to evoke a sense of written language. The fact that a message cannot be understood does not really change its emotional appeal. Moreover, the less message can be deciphered, the more seems to be the appeal -- for it triggers our imagination. In fact, we may not want to know the actual meaning because deep inside we are afraid that this might be just another alien dry-cleaning receipt.

Very close thematically and in style to the rest of our “whimbats” (the Absurdies, Bizarries, Illustries, Genteta and Whimsies series), the Ombres contain a number of peculiar silhouettes and illustrations of people that range from cute to scary, with everything in between. Ombres offers152 pictures in 3 files. These imaginary characters were produced with different techniques: quick pencil sketches, ink, watercolour, though once digitized and simplified to bring them into the font files there is little apparent difference. The silhouettes, rather than flat shadows are more dimensional in their look, because they have been digitized retaining the original brushwork or pencil strokes of their source drawings. Some of them remind of the venerable tradition of metal stock cuts from vintage type foundries. The digitized results are quite different, but the energetic nature of the subjects has been mantained. Their vectorial file format means you can use them at any size with no loss of quality. Every Ombres dingbat offers ready-made images for a variety of creative projects. They can be used as they come or easily customized in any graphics program. At small sizes they are ideal spot illustrations with a whimsical touch; at large sizes they can bring a whole page, a spread or even a big poster to live.

Ernie is a new animated typeface by Jim Ford, intended as a complimentary serif design to Freeman Craw’s fun retro hit, Ad Lib. The serif drawings mimic the behaviors of Ad Lib, on a Clarendon-esque structure. The application of Ad Lib’s behaviors to a serif design highlights it's quirky characteristics; notably in the added contrast, the bending of serifs and the translation to Ernie’s ball terminals. The lowercase g is probably the most extreme example of this "translation." Ernie has a savvy system of text animation built in; with dualing lowercase alphabets, 34 ligatures, and an extensive glossary of custom words, all programmed to automatically make intelligent pseudorandom wordshapes. It's called RMS, aka the Randomagic System. The glossary of “buzz” words is based on the most common and powerful words in marketing and advertising, as well as words that are specific to Ernie’s intended uses.. Additionally, Ernie Alt provides the opposite randomization effects in lowercase text, thus reversing the rhythm of the bounce. Ernie Sorts is a bonus font which includes fun printers fists, expandable banners and other graphic elements. The Ernie character and cartoons were created by Johnny Sampson, as a visualization of the typeface, it's character and it's unique features.

“LAPOYA” (meaning in english “the coolest”) is a large slab serif typeface family, with a certain Italian inverted contrast touch. Specially designed for advertising big shows and commerces, Lapoya has 36 variables and four axes, including a text and decorative versions, where the drawing and width of its counterforms vary. It also has icons that remember the old aesthetics of wood types from the early 20th century, and more than 400 characters with a multitude of signs and ligatures, that make Lapoya ideal for up to 89 languages. It is clearly inspired by the large wood types designed for posters, advertisements and newspapers. Since they were introduced in the 19th century, slab serifs have become extremely popular. In fact, serifs are often enlarged, not so much to look like beautiful or balanced letters, but to be more graphic and visual powerful than others. Furthermore, in the case of this typeface, this idea has been applied not only to capital letters, but also to the lowercase, numbers and signs of all kinds. “That’s why this typeface is LAPOYA!” Designed by Carlos Campos in 2023. cuchi@cuchiquetipo.com OPENTYPE FONT 426 GLYPHS 388 CHARACTERS 4 AXES 36 INSTANCES 9 LAYOUT FEATURES 89 LANGUAGES

Bengala is a font based on Calligraphy & Geometry designed by Carlos Fabián Camargo. Its purpose is to be an innovative typographic system combining Script letters with geometric and hard Caps letters. The contradictory styles are ideal for designing covers, posters, branding and packaging. Its smooth calligraphic look meticulously incorporates characters to design logos and phrases that communicate dynamism and strategy. Bengala Script was inspired by Mistral by R. Excoffon. Bengala Script provides violent and unstable lines with generous spacing between the letters and tight horizontal proportions, producing showy upper and lower case italics inspired by French Gothic calligraphy late fifteenth century. For this reason, Bengala Script retains some uninterrupted calligraphic logic, up and down sometimes higher or shorter than the height of the lowercase, creating dynamism through a variable amount of contrast between thick and thin strokes. Bengala Dingbats has 62 drawings designed to accompany the designs. Script and Caps Bengala have different gender and the similar X height produces more visual appeal. This way Bengala Caps - inspired by the Porshe logo, due to its geometric uppercase Roman construction, extended horizontal proportions, light caliber, rounded strokes terminations and generous spacing between letters. Special thanks to John Moore and Manuel Corradine for their help with Open Type.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming."

The purpose of this monospace font is to display braille in an original although rather steganographic way. Its glyphs are built from a flat hexagon which can be read as 3 rows of 2 vertices (i.e. regular braille glyph grid). The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 5. Glyphs are connected to each other, thus 6 connections for each hexagon (2 on left/right and 4 on top/bottom). In the final design many diagonal segments of the hexagon were removed for esthetical reason. Text is displayed not as a honeycomb but as a lattice instead which mixes hexagons, squares and "irregular convex octagons" (mostly unclosed), the design favored squares over octagons. The whole slightly resembling a PCB. Text can be framed with 3 sets of Frame glyphs (as shown in Poster 4): Octagonal: { €, °, £, µ, §, ¥, ~, ¢ } which can be mixed with Rectangular High Rectangular Low: { è, é, ê, ï, î, à, â, ä } Rectangular High: { Â, ù, Ä, Ê, Ë, ô, õ, ë } which can be mixed with Octagonal NB: When using Frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

FF Attribute™ Mono is a monospaced design with an industrial strength, minimalist vibe, making it perfect for attention getting, theme-based headlines, posters, banners and navigational links. And, because it is such a robust family, FF Attribute can also be used for branding of blogs, games, web sites and tech products. FF Attribute comes in two families; Mono and Text. The Mono is a fixed width (monospace) design, while the Text is a proportional design. FF Attribute was, in fact, initially designed for the use in code editor software. Its seven roman and italic monospaced weights and extended character set supporting many languages also make it a powerful communications tool. But this is only the tip of the iceberg. In addition to the monospaced version, where all characters share a fixed width, there is also a proportional, “faux monospaced” version: FF Attribute Text. The Text family keeps the visual character of a monospaced typeface, but wide letters are given more space while narrow characters have been drawn with correct proportions and spacing. FF Attribute Text looks monospaced – but it’s not. Drawn by Viktor Nübel, FF Attribute Mono’s 14 designs, huge character set, including box-drawing characters and user-interface icons, make it the Swiss Army Knife® of monospaced fonts.

Name: Quarpa Styles: 6 styles Glyphs: 394 Year: 2021 This lofty font features a compact structure as well as a unique combination of rounded corners and square contours. The collection includes six styles: Extra Light, Light, and Semi Light that will ensure elegance; Regular, Medium, Semi Bold and Bold suitable for a solid design. Each of them also has Italic variation. It’s an ideal option for outstanding corporate images, logos, promos, or video presentations. Quarpa has proper kerning, multi-lingual support, and ligatures. Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Ido, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkmen, Upper Sorbian, Vunjo, Walloon, Walser, Xhosa, Zulu

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

The story of Freigeist is a journey into the past, back to the early grotesk fonts and long before Helvetica and Co were standard fonts in operating systems. For what we take for granted today is the result of innovation and pioneering spirit of type foundries such as Caslon or Stephenson Blake in the 19th century, whose expressive designs are mostly forgotten today. The Freigeist family captures this untamed spirit — hence the name (German for “free spirit”) — and puts it into a contemporary context, resulting in a multi-faceted family with a wide range of applications, font styles and features for modern typesetting. Design Details Unlike other modern grotesk typefaces like Helvetica or Univers, Freigeist is characterized by a warm and dynamic appearance. It draws inspiration from various historical models such as Caslon’s Doric or the Grotesque variants of Stephenson Blake. Particularly noticeable are the narrow terminals, the serpentine S or the dynamic g in combination with ascenders that reach to the cap-height only. Italics Many italic grotesk fonts are strongly oriented towards their upright counterparts. Unfortunately, this often means that they cannot do justice to their actual task, which is to highlight words or sections of a text. The italic cuts of Freigeist try to remedy this situation by using the greatest possible formal distance while reinforcing the untamed spirit. What adds to this, is a reminiscent of handwritten forms, which can be found in a, n, y or g, as well as the German sharp s or the ampersand. Alternate Characters Alternative letterforms are ideal for customizing the overall appearance of a text, for usage in logos or they can even work as custom fonts for companies. Freigeist comes with ten stylistic alternatives that are easy to insert via the Opentype window, such as the single-storey a, a tail-less version of the a for compact text, when uses in condensed widths or a dialed down version of the r. Languages Freigeist has a built-in support for Latin and Cyrillic based languages and covers more than 210 languages. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. Styles Freigeist is available in five widths (XCon, Con, Normal, Wide, XWide) and six weights (Thin, Light, Regular, Medium, Bold, Black). Including the accompanying italics, the family comes in 60 cuts that are suitable for any application. Testfonts If you like to test the fonts before buying the full version, please follow the link below: https://www.renebieder.com/test-fonts Update 1 A lot has changed in this first update. It is more than just a 1.01 or 1.02. It is actually the 2.0! I’ve gone through all! single glyphs of the 18 master files, making the family more sharp and even a bit more modern. I’ve added some new opentype features and redesigned the italics, because I wasn’t happy enough with the result. I’ve added new kerning pairs, new metrics, and even new glyphs. Please check my website for more details on the new design and overview about the opentype features and alternate shapes. If you purchased the Freigeist family already, thanks a lot!! It is the most advanced family that I published so far. I hope that you’re happy with this new version. Thanks!

t can be complicated to create unique, attractive designs for your latest projects especially when you are left with an abundance of boring fonts because ordinary fonts make your designs less prominent, unattractive, and unprofessional. Therefore, we would like to introduce you to Hello the Dog. Hello the Dog is a display font with cute, charming characters inspired by a dog theme. All of its letters and characters are created in a cute way that portrays a dog’s characteristics, such as long ears, big eyes, and a cute nose. It has various sizes and variations ranging from uppercases for title displays and lower cases for softer text displays. Hello the Dog font, of which available features and a clipart bonus you can enjoy, will live up and charm your designs in order to attract the audience with the theme you have. In fact, it will also help you build up your brand identity to be unique and memorable, particularly brands related to dogs or pets. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Hello the Dog fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Based on my very first font creation, New Ayres keeps the same feel, but raised to high-quality level. Its long clean lines and soft curves merge old style and modern, giving a new meaning to timeless elegance. Perfect for titling; with at least five alternates per letter, the possibilities become endless. Choose the one better suited for your project and make your text stand out immediately! 703 glyphs take part in this font, including a large set of alternates, ligatures and swashes for you to choose from. With accents and special characters for languages, New Ayres supports 88 languages: Afrikaans, Albanian, German, Swiss German, Upper Sorbian, Asu, under Sorbian, Bemba, Bena, Norwegian Bokmal, Bosnian, Catalan, Czech, chiga, cornic, Creole Cape Verdean, Creole Mauritian, Croatian, Danish, embu, Slovak, Slovene, Spanish, Esperanto, Estonian, Euskera, Faroese, Filipino, Finnish, French, Rialan, scottish Gaelic, Galician, Greenlander, gusii, Hungarian, Indonesian, Irish, Icelandic, Italian, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kiroundi, kölsch, latvian, lithuanian, luo, luxembourgish, luyia, machame, makhuwa-meetto, makonde, malay, malagasy, maltese, manx, meru, Northern ndebele, nyankole, norwegian nynorsk, oromo, polish, portuguese, romeo, rombo, romanian, rwa, samburu, sango, sena, shena, shamble, Shona, rope, somali, swedish, swahili, taita, teso, Turkmen, vunjo, walser, zulu. This font is PUA encoded: this means each character has a unicode name, and you may access any of them through this codes. Open Type features on the open type file: easy access for alternates and ligatures! The download includes both .otf and .ttf files, so you may choose which one suits you better. With a strong personality, but yet adaptable into many styles, New Ayres is everything you are needing for your projects!!

BECOME Display Font Family It tries to display playful ideas in well-balanced styles. Hello, designers. We always seek new innovations, but run into the world of forms and frames, presently. This font family presupposes pleasant imagination and provocation, but controls the change of various styles so as not to lose a sense of balance. B, E, M and W glyphs started from the same skeleton, but the detailed correction work for interpolation transformation was all applied differently. It is designed to be well suited to any layout while providing a unique stimulus. It can be a great display for all ages, from kids to seniors, and covers publishing, web, app and graphic design areas. OpenType Features Stylistic Sets(ss01) : C,E,G,H,L,N,O,Q,U,Z(Uppercases), a,b,c,d,e,g,i,j,l,,n,o,p,q,u,z(lowercases) Stylistic Sets(ss02) : ↑↗→↘↓↙←↖↔↕ ligatures : fi,fl oldstyle figures tabular figures fractions

Just before the end of 2020 all schools in Holland closed for the second time, because of an increase in the number of COVID 19 cases. This means that my wife and I have to educate our three kids at home. The kids are great and take their tasks seriously, but it is difficult, as all three of them require different educational levels. I am sure you parents understand. Trying to get some work done is virtually impossible, so my wife and I made a schedule and we live by ‘on duty’ and ‘off duty’ days. I was thinking of this when I created this font (obviously on an ‘off duty’ day). Home Education is a handwritten scribble font. It was made with a Sharpie pen (possibly used by one of my kids, because I noticed tiny ink stains on my wooden dining table…). It comes with all the diacritics you can hope for and lovely double letter ligatures for you to play with.

Beckan is a retro inspired typeface, which leans towards the Art Nouveau style. The Beckan typeface has a high-contrast and a thin hairline, this gives the typeface a bold and modern retro look. The Beckan typeface comes in two styles, Regular and Oblique. The Beckan typeface can be paired with a minimal sans serif or light script font, this combination will give your next project a unique look. The Beckan typeface is very versatile and can cover a wide range of project such as: branding, mastheads, magazines, logos, facebook banners, Instagram posts, websites, blog posts, pull quotes, product packaging, advertisements and much more. If you are looking for something bold and retro for you next project, Beckan is the font for you. WHAT YOU GET: Beckan Regular Beckan Oblique BECKAN INCLUDES A FULL SET OF: Uppercase and lowercase letters. Numbers. Punctuation. Multilingual symbols. We hope you enjoy using the Beckan typeface.

ZT Vollun is a work of awakening from my valley of boredom in making fonts, it is not only a transformation of thickness, but also in terms of theme, aura, shape and beauty. Maybe this is a superstition of adulthood and also as we get older, our taste in cigarettes can change too. And the taste of the coffee is also getting bitter, in fact there is no sugar anymore, but the enjoyment is increasing. ZT Vollun consists of seven weights, starting from the thin one with curves combined with thin strokes, offering a playful aura, to the thickest one with a firm design that will present a thick modern atmosphere. Whether you're working on a branding project, an editorial project, or any other graphic project, ZT Vollun is the perfect choice for a modern, elegant look or any design vibe you can get your hands on. I hope you have fun using ZT Vollun. Thanks for using this font

Visiting the end of 2018, we launched "Controwell Victorian Typeface" which adheres to Serif and Script style. Controwell Regular has 2 layers that give a cool metal effect. Besides that, there are many alternative character choices that suit your taste. This charming Controwell Script is very well suited combined with Controwell Serif Regular. the elegant and unique impression looks very hard. just like the serif font, this script also has many alternative character choices, up to "SS10" and 600 glyphs. You create designs with modern Victorian themes or classically themed themes that are suitable for collecting Controwell Victorian Typeface, in addition to many choices of your character is also very easy to use. just choose and change some characters, the design that you design is ready to be printed or published on social media. This font is very suitable for logotype design, packaging design, beer design, vodka, whiskey label, poster design, victorian book cover and design.

We have grown a new flower in our Garden, but this time, in a more emotional way, capturing its vibrations and using them to create a fresh handmade typeface: ‘Bach’, a display type system inspired by the new lifestyle trends that look to go back to basics and increase the value of old natural healing methods. Bach comes in two styles: a 6-weight Serif font in regular and italic versions, and a 2-weight Script in regular and bold versions. Ornaments are also included! Bach Script is based on the calligraphic catchwords set (handcrafted with brush pen) and the Serif version of the Garden typeface. This font is the perfect choice for labelling, packaging, illustrated books and posters. Go back to nature and feel the vibration again, this time with Bach! Bach is a Mendoza Vergara Studio design with the collaboration of Cecilia Mendoza in digital editing, under the supervision of Luciano Vergara and Coto Mendoza.

Are you in search of Ancient Astronauts? Extraterrestrial beings who came from the 12th planet to influence human cultures, technologies and religions? They're here! They visited our Earth prehistorically and they didn't just make contact with humans -- they gave birth to our entire race! Some believe they are a secret group of reptiloids who still control humanity! Their agents live amongst us disguised as George W. Bush, Queen Elizabeth II, Kris Kristofferson and Lady Gaga. It's true, we read it in Weekly World News. These ancient aliens established divine status over primitive men and compelled them to build Stonehenge, Pumapunku, the Moai of Easter Island, the Great Pyramid of Giza, and the ancient Baghdad electric batteries. After all, if you're stuck on Earth, you may as well have some big heads to look at and a source of power to jump start your flying saucer. And a font. Features: Three fonts (Regular, Bold & Alien) with alternate characters.