MAS AMOR POR FAVOR (1) (more love, please) Fluire means -to flow- in Italian and that’s what this font is all about. The story began when a friend of mine asked for a tattoo with the word -Fluir- (to flow in Spanish). She didn't want a tattoo full of swashes and swirls, like I'm used to doing, but something more fluent, soft and minimal. My very first attempts were more related to copperplate calligraphy but I wasn't even close: I discovered that I needed to forget a little bit about the classic contrast and speed of the engrosser's nib and started playing with a tiny flat metal nib. Letters started to flow, and I immediately thought of turning them into a font. Inspired by the tattoo I created and by other tattoos I saw, I started the journey of what would be a very fun process. The result is a very cute, almost monoline font with a wide range of uses. USES If not used for a tattoo (my first ‘target’), the font delivers amazing results in combination with Fluire Caps: These two need each other, they go together, they talk. I designed Fluire Caps Down and Fluire Caps Up so it’s easier to manage their colors. Also there’s Fluire Caps Down Lines, which has a decorative thin line to add yet another dimension. Use the fonts in magazines, book covers, posters, greeting cards, weddings, lettered walls, storefronts! TIPS Since the font is Open-Type programmed, I strongly recommend using it in applications that support that feature. Also, the font looks way better when -contextual alternates- are activated, but it’s your choice :) Try Fluire, and keep flowing. NOTES (1) The phrase alludes to maybe the most tattooed phrase in Latin America.

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

Dynamic, attractive and catchy - the new TypeType display font! Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Cometus is an expressive typeface that captivates from the first time you read a text set in it. Despite its massiveness, the typeface is malleable and dynamic, like a comet piercing the space in order to achieve the only goal - to capture the attention of the viewer. TT Cometus is a slab serif whose strong serifs are serifed at the junctions with the vertical stroke to give the typeface a dynamic and modern character. Thanks to this solution, some elements of the font evoke associations with calligraphic works, while display elements remain stable thanks to massive serifs. The pointed endings of the letters c, y, e, t and noticeable inflows of arches and semi-ovals make the character of TT Cometus dynamic. The contrast between the thicknesses of the horizontal and vertical elements is small, but in the serifs, inflows, and letter endings, the contrast is pronounced. The nature of the font is balanced, and its friendliness is supported by the smoothness of shapes. Oriented towards the viewer, flowing yet massive and dynamic, TT Cometus is suitable for use in eye-catching projects. This is a display font that shows its character better in a large body size and can be used in printed materials or on the web. The font looks flawless in headlines and logos, and is suitable for use in branding. TT Cometus consists of 5 faces: 4 upright and one variable font. Each face has 568 glyphs. The font contains 18 OpenType features, including a large number of ligatures, sets of alternative characters for the ampersand and the letter g.

Always intrigued by Bodoni's original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni's widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic. After a careful examination of all characters, I decided to create a typeface based on the distinct script capitals presented in the book. Matching lowercase italics were later selected and designed to complete the series. Since my intention was not to create simply a digital version of Bodoni's work, this typeface was designed with connected characters and capitals with extra calligraphic elements. The result was released in 2002 and published in our award-winning catalog/book IDEA/Trendsetting Typography vol.1. Later in 2005 we revived a large number of ornaments and borders (credit goes to designer George Lygas). All this work was left behind till recently when it was revisited to create a complete 'Pro' family. Several new uppercase and lowercase glyphs were designed in order to create a distinct typeface, which is based on Bodoni but yet it stands out on its own. The new version also takes care of conflicts between neigbouring letters, something that was not included in the first version. Bodoni Script Pro is a 3-weight superfamily. It supports 10 special opentype features including 'contextual alternates' as well as support for both Latin and Greek. Each font comes with 725 glyphs including a large number of alternates as well as 144 ornaments. Furthermore, when you purchase the whole package you get a bonus font which contains 120 frame parts. These parts, when put together, create some truly amazing borders. -Panos Vassiliou

Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps. Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density. Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features. Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough. The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion. Check out also ‘Modern Love Slanted’ Turquoise Nautica

As you consider the words you need to convey, it’s clear that you’re looking for something that feels just as precise and intentional as the message you’re promoting. Structia is a typeface that does not shy away from its influence—it leans into the hard edges and geometries that are typically associated with brutalist architecture. And yet, even as it draws inspiration from an austere and somewhat daunting aesthetic, Structia also possesses a sense of control and discipline that is undeniably alluring. At the core of Structia’s appeal is its mechanical precision. Every line, every curve, is carefully calculated and crafted to create a sense of mathematical accuracy that is difficult to resist. There is no room for error or imperfection in Structia—every stroke is sharp and precise, with chamfered corners that add an extra layer of texture and visual interest. This is not a typeface that allows for ambiguity—it demands clarity and specificity, and it delivers both with remarkable consistency. But Structia is more than just a collection of angular shapes and precise lines. It is a typeface that conveys a sense of scientific accuracy and chilly logic—a kind of elegance and refinement that is unexpected. There is a beauty in the way that Structia balances the hard-edged geometries of brutalism with a sense of control and finesse that is undeniably modern. It is a typeface that feels at once futuristic and timeless—a design that can be used in a wide variety of contexts and still feel fresh and relevant. And then there are the two effect styles—Structia Panel and Structia War—which take the basic geometry of the typeface and push it even further into the realm of science fiction. Structia Panel feels like something you might see on a spacecraft or in the architecture of an alien planet, with thin, laser-like struts that give it a futuristic edge. Structia War, meanwhile, takes the concept of Structia Panel and adds a layer of battle damage, as if the letters have been through a cosmic conflict and emerged victorious. In the end, Structia is a typeface that demands attention and respect. It is not a typeface that will fade into the background or blend in with the crowd—it is a design that is meant to be noticed and admired. And yet, even as it draws your eye with its hard-edged geometries and precise lines, it also possesses a sense of elegance and refinement that is undeniably alluring. Structia is a typeface that balances the old and the new, the hard and the soft, the mechanical and the human—and the result is something truly remarkable. 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.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Compact" because as you can see everything is very close and decorative symbols are at a maximum. The first "alef" has neither a "hamzit wasel" nor a "fatha", this indicates to skip that first alef so instead of saying "AR-RAHMAAN" you say "R-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The calligraphy is anything but traditional & we have used all the decorative letters except for the "Ye". In other calligraphy you don't usually find the decorative letters: "Dal, Ra & Ye" but we like them and we use them, the important thing is that they don't change the pronunciation or the meaning. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef, Ta, Dal, Ra & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

Say hello to Odds - a versatile, chunky casual sans with lots of personality! It’s fresh, friendly and easy to read. It is also a great mix of boldness and cuteness, so it definitely captures attention. The Odds family comes in five distinct fonts styles : - Odds - an artistic handwritten-style sans - Odds Sans - a typical neat and clean sans (caps and small caps which you can mix & match) - Odds Narrow - a cute handwritten narrow sans (uppercase and lowercase), and two awesome sets of goodies: - Odds Extras - borders, arrows, speech bubbles, etc. - Odds Symbols - palm leaves, plants, fruits and other useful objects. Odds works great on a variety of mediums from web to print, but you can find it particularly useful if you're designing food packaging (actually any packaging) and clothes. Other awesome usages include posters, signage, ads, printed and personalized cards, t-shirts, sale banners, everything kids related - merchandise, toys, you name it. Its quirky character and fat letters make up for bold and friendly presentation while the slender letters of the Odds Sans and Odds Narrow are perfect for plain text. And yes, all fonts have Cyrillic! They also have some neat ligatures and alternates to spice up your designs and create more interest!

Bruney is a Classy and Unique font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more classy and unique, here we prepared some ligatures: KA KI KU KE KO LA LI LU LE LO RA RI RU RE RO EB EH EP ER EK HB HP HK HR TB TD TE TF TP TR TT UB UD UF UK UM UN UP UR VA WA AB AD AR AV AW CK OO OC CA CY EA EB ED ES GB GH GK GB GR HB HP HR HK KB KD KS EY FY LS ME MU MB MD MF MH MK MP MR NN SO RS SB SD SE SF SP SY SR ST SS LL UN CS Bruney is also included full set of: uppercase letters multilingual symbols numerals punctuation Wish you enjoy our font. :)

Does the world really need one more vernacular pop culture typeface? We here, at astroluxtype shout a resounding yes! Sure, at myfonts.com, you can find the apex of fine font design that will have your mind and eyes burst with joy at the level of sophistication and craftsmanship they exhibit- Koo Koo Puff Light Condensed and Regular Condensed are not one of those fonts. But if kooky goofy is your thing, we're selling it at the astroluxtype booth. Koo Koo Puff Regular Condensed is the companion font to Koo Koo Puff Light Condensed. Both fonts includes an upper and lowercase glyph set. Regular Condensed has a different upper and lowercase “O” from the original Koo Koo Puff Light Condensed. Spacing metrics are looser, as well. The font is not a match for Light Condensed, it is a separate font. Both are headline display faces, for optimum usage it is recommended to be set at 48 points or larger in size. Look to astroluxtype’s Sugarbang ! as the first in a series of fonts inspired by vintage product packaging, Koo Koo Puff is the second release in the Cerealboxx series. The third font is in the fridge getting cool now, watch for it in the future. Rave on you design genius.

I have made this font properly monospaced (all characters are the same width) as that is how an old typewriter worked. In addition to correcting and expanding the character set, of course. Keving King says: "Kingthings Trypewriter is a deconstructed typewriter face. I have always loved decayed fonts, this is the first of mine - and yes, I know there are lots of these around - this one is MINE". ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The new Religan serif font is luxurious and elegant which will bring a unique style and trendy look to your designs. This modern serif relogan has several on-trend ligature binders and special characters to make it look more unique in all design projects and work perfectly to pair with other fonts. It's perfect for logotypes, branding, wedding monograms and invitations, blog headlines and more. Here we prepare some fasteners: ab ar an am ah ara ap ti tr st tu tt ct et ff ty ffi fu ft fj fy th tm tn in im ir it ta ri er eh em en ch cr ra ng li eb cb fr ck fb fh fk jj gi and more.. Religan also includes the full set: Uppercase and lowercase Multilingual symbol Number Punctuation This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Religan! Feel free to use the #Dora Typefoundry tag and # Religan Modern Serif Font to show what you've done. If you have any questions, you can contact us by email: doratypefoundry@gmail.com Thank You!

Cute FS Kitty is the type equivalent of Bagpuss: plump, cute, cuddly and not fond of exercise. So don’t go giving it a run-out on body copy; FS Kitty is an all-caps font made for showing off in posters and headlines, and on products, point-of sale and especially sweets. Blubber Kitty had been quietly curled up in Phil Garnham’s sketchbook for a year before he brought it out to be brushed up. “It was in the mix as a basic form when I started thinking about FS Lola. It was a twisted, bubbly beauty – quite squishable and huggable. The working file was called Blubber. “At that time it was a basic construction of strokes. I created the ‘A’ first, purely as a shape to play with, not as type. I flipped it for ‘V’, and copied that for a ‘W’. I flipped the ‘W’ for an ‘M’... I thought, ‘This looks a bit wacky, but I like it,’ and just carried on. The most tricky characters were the ‘B’ ‘P’ and ‘R’. I must have drawn about 20 kinds of B for this, just to get it to fit.” Variety “When the regular weight of Kitty had been designed,” says Jason Smith, “it just felt like a natural progression to go on and explore how far we could go with it: Light, Solid, Headline, Shadow.” Phil Garnham thinks there’s still more to come. “There are some really individual characters in this font that I think have yet to be exploited: the Greek Omega symbol, the strange face in the ampersand. Like Bagpuss, Kitty has kept a low profile so far. “We know people are using Kitty. In fact, it was the first of any of our fonts that we sold on the day it was released. But I still haven’t seen it out there in the wild. It’s going to be a exciting moment.”

Whatever the medium, Girard’s love for typography was the common thread that wove his work together. We are honored that the Girard family has entrusted us to celebrate and expand upon the legacy of this design icon with this collection of fonts. The Girard Slab family gracefully synthesizes illustrative sensibilities into a practical typographic framework. Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. From boutique chocolate packaging to the titling sequence for an indie vegan superhero cartoon, Girard Script deftly adds a contemporary sophistication to text and display settings. Inspired by a workhorse lettering style that helped Alexander Girard implement thousands of design elements in his overhaul of the Braniff identity system, Girard Sky pulls its weight in any contemporary application. In Girard Sansusie, each character stands alone as an illustrative element while coming together with its counterparts as a whimsical yet functional typeface. FEATURES: The ligatures feature substitutes specially-drawn letter combinations that combine two, three or even four characters to create smoother transitions and simulate lettering sensibilities. Girard Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. Copious alternate characters and “smart” OpenType programming allow Sansusie to escape the rigid confines of typography to come alive as if flowing from Girard’s sketchpad. This animation shows a sampling of the swash characters available in the font. GIRARD CREDITS: Typeface Design: Alexander Girard, Ben Kiel, Ken Barber, Laura Meseguer Typeface Production: Ben Kiel Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber 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.

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

Introducing Korrupt, the typeface that shatters traditional letterforms and transports you to a bizarre, malevolent post-singularity metadystopia. With its antihumanist design and conflicting angles, this alien font is straight from the future. It’s a psychedelic apparatus that conjures up images of a twisted, eerie world. Korrupt is not for the faint of heart—it’s for those who want to push the boundaries of design and explore the strange and unconventional. If you’re into nanopunk, post-cyberpunk, biopunk or any other twisted science fiction theme, Korrupt is the font for you. Its optimal design will transport you to a world that’s both familiar and yet utterly alien. So don’t settle for the same old boring fonts—embrace the bizarre and choose Korrupt. It’s a typeface that will leave a lasting impression and make your message stand out. Get ready to take your design to the next level with this avant-garde, out-of-this-world typeface. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Antypica is a soft and friendly slab-serif font that draws inspiration from typewriter styles. This font is designed to be easily legible in both small and large sizes, making it a great option for various applications. Its simple yet timeless design with a modern twist makes it perfect for use in a wide range of design projects. This includes package design, ad campaigns, brand identities, movie titles, poster art, booklets, and even classified documents. With an impressive 790 glyph count, Antypica supports Basic Latin and Latin Extended-A. OpenType features further enhance typography by providing Small Caps and Small Numbers, Lining Figures, Oldstyle Figures, Superscripts, and Subscripts, Fractions, Tabular Lining Figures, Tabular Oldstyle Figures, Ligatures, and Contextual Alternates to prevent some unwanted letter pair collisions. Additionally, Stylistic Sets offer Stylistic Alternate Lowercase a, Alternate Cap T, Alternate Dollar Sign, and Slanted Hyphen to add calligraphic quality to text blocks, while the Special Set offers unique glyphs like Bitcoin and Interrobang. Antypica is highly versatile and can be used in many design applications. Small Caps and Small Numbers can be used creatively to create more visually engaging typography, and the optimized underline effect can be used to enhance the design. To access the Special Set in OpenType features, select it from the OpenType menu. To add special additional marks, type following in your text field. • For the Exclam-Comma mark, type ” ,! ” (comma+exclam) • For the Question-Comma mark, type ” ,? ” (comma+question) • For the Bitcoin mark, simply type " bitcoin " (not case sensitive). • For the alternate (Cap Height) Registered mark, type " registered " (not case sensitive). • For the Published mark, type " published " (not case sensitive). The font also has a small caps version of the Published Mark. • For the Numero mark, type " N° " (N + degree) (case sensitive). • For the Interrobang, type " bang " (not case sensitive). • For Price marking, type ” ,– ” (comma + one of these: hyphen, en dash, em dash). • For Dot(s) Pattern glyph, type " dots " (not case sensitive). • For Line(s) Pattern glyph, type " lines " (not case sensitive).

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980's. Many of these sleek logotypes are lacking an expansive family to enhance and express their brand in a richer sense, becoming true brand workhorses. The Aspire SmallCaps family finds its origin of inspiration in the ACURA automotive company logo, and from there expands to an 6 font family of weights & oblique styles, striving to become a workhorse. Aspire SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire SmallCaps Family bundle: - 438 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

Welcome to the world of Emory, the typeface that packs a gritty punch. With its sandpaper-like texture, Emory is perfect for those looking to add a tactile quality to their message. This easy to grip typeface is designed to be comfortable to use, yet its coarse texture will make your words stand out. Every letter has been crafted with care to ensure a unique look that will make your text truly one-of-a-kind. In addition to its distinctive texture, Emory also features bespoke combos that will automatically be substituted for common character sequences. This feature adds an extra layer of roughness to your text, ensuring that your message will truly stand out. Emory is available in four distinct variants: Regular, Italic, Bold, and Bold-Italic. Whether you’re looking for a subtle touch of texture or a bold statement, Emory has you covered. So why settle for a plain, boring typeface when you can add a touch of grit and texture to your message? Choose Emory and experience the power of grit! 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 contemporary feel of the Sancoale superfamily takes a bolder turn with this futuristic slab. Built from Sancoale's successfully simple geometry, Slab's serif elements and tall x-height give the face an energetic, yet clean figure that easily complements its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Narrow; and, of course, the original Sancoale itself. The weights of each member have been balanced carefully to ensure compatibility with the others, and when used together, the combination creates a powerful design that is easy to identify. With weights ranging from the classier Thin to the authoritative Black, Slab opens the door to a range of applications. Used in different text sizes, its tech image is legible and neutral enough for longer bodies of copy--both in print and on the web. Have a more prominent need? The web font also stands out well in a headline or even as a display face. Slabís great personality puts a strong foot forward without giving its reader a kick in the teeth. Whatever the task, this font's one to capture the Zeitgeist into your work. All Insigne fonts are fully loaded with OpenType features. Sancoale Slab is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including "normalized" capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Included are small caps, fractions, old-style and lining numbers, scientific superior/inferior figures, complete ordinal and inferior alphabet, and a set of symbols and arrows. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Slab supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging.

DT PaperType has evolved and morphed over time from quite distant origins. I previously created DT Paperside. It was neither Papyrus nor SSI Countryside, but was inspired in some ways by the Papyrus form, although untextured and smoother, and had the more open dimensions and proportions, similar to that of Countryside SSi, with its larger easily readable lowercase body, and more consistent, shorter stems. DT Paperside had an open scripted feel which was pleasing to the eye and easy to read. DT PaperType has since been crafted from of the original Paperside font. The Organic flow and comfortable form of Paperside has been retained, but it has been shifted very much from the feel of a script font, into a quality, extremely readable, organic and friendly, serif font, retaining its clarity, while adding a great deal of pose and class. This font is primarily suited to body text, and as such is extremely readable. It does however also make an excellent Display font, and comes with a full set of over sized Caps that drop below the line to stand out on a headline when required. Paperside can also automatically enhance the first letter of most sentences, and changes other letters to suit their position within words, and the letters they appear beside. Now comes with an italic that curves and softens various letters. For best results, use this ‘smart font’ with Contextual Ligatures turned on. Mulitiple Stylistic Alternatives are included. Inspiration for this fonts predecessor (Paperside) came from two other fonts. Papyrus: designed by Chris Costello and created in 1982, it is a hand-drawn textured typeface, emulating texts written in biblical times. One of the most used (and misused) fonts of all times. Owned by Letraset, and currently published by the Internation Typeface Corporating (ITC). Countryside SSi: The serif font of an unknown designer, currently licensed by Southern Software Inc. Feel free to preview some other Dragon Tongue fonts that are yet to be released, at https://www.dragon-tongue.com/fonts

Introducing the stylized Miluero family. Graceful cut, rounded corners combined with austere shapes. Accent fonts with color padding and a classic basic monochrome version in the set. Perfect for logos, headlines and captions. Looks elegant in a minimalist modern design. An assortment of colors will help you get started quickly. This font family is based on the Regular font Pacardo - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Miluero Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different forms. - Color in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Sweet Kulfi - Quirky Display Font Introducing "Sweet Kulfi", a quirky display font that adds a playful touch to your designs. Inspired by hand-lettered bold typefaces, this font is perfect for those looking to inject some fun into their projects. With both uppercase and lowercase versions available, you can mix and match to create unique designs that stand out. Sweet Kulfi also comes with a ligature feature that adds an extra cute touch to your work. For those looking to add a playful yet stylish touch to their designs, Sweet Kulfi is the perfect choice. This font works well for a variety of projects such as logos, titles, cover designs, headlines, apparel, comics, book covers, cards, posters, and anything that requires a childlike feel. It's great for those who want to bring a sense of fun and playfulness to their designs. Sweet Kulfi comes with a range of features including uppercase and lowercase letters, OpenType alternates and ligatures, numbers, punctuation and symbols. This font also supports multiple languages, making it easy to use for international projects. Inside the zip package, you'll find the Sweet Kulfi font available in OTF, TTF, and WOFF formats. With these formats, you can easily use Sweet Kulfi in a variety of design applications such as Adobe Photoshop, Illustrator, InDesign, or any other software that supports these formats. If you're looking for a font that is both playful and stylish, then Sweet Kulfi is the perfect choice. With its unique hand-lettered style, this font is perfect for a variety of design projects that require a fun and creative touch. In summary, Sweet Kulfi is a quirky display font with both uppercase and lowercase versions, OpenType alternates and ligatures, numbers, punctuation and symbols, and multilingual support. This font is perfect for a range of design projects that require a playful touch, such as logos, titles, cover designs, apparel, comics, book covers, cards, posters, and more.

Marintas is a sleek upright italic that offers you a modern look and feel. This elegant sans serif comes across as lively, yet comfortable. Some semi slab characteristics of the font give it a face-forward momentum. These semi slabs, even with their geometric construction, are fluid shapes with a soft hint of brushstroke. The soft curves of Marintas paired with its playful but geometric semi slabs or ending strokes give the face its spirited--though friendly--eye-catching appearance. The Marintas family is comprised of 8 variants, ranging from Thin to Ultra. Its incredible versatility ranges from the delicate hairline to the extreme ultra weight. The heavier weights show some similarity to Antique Olive, and the face has an exuberant South American or Latin feel. This type of family is well-suited for advertising, retail, food and beverage products as well as for use in magazines, logotypes, and books. The fonts lend themselves to display settings, but are still very usable for longer copy. Because of its large x-height, the typeface is legible at very small sizes and as a webfont. Marintas has support for extended Latin character set. A wide range of Western languages are also supported, including Central, Eastern and Western European languages. In all, Marintas supports over 40 languages that use the extended Latin script, making Marintas a great choice for multi-lingual publications and packaging. All insigne fonts are fully loaded with OpenType features. Marintas is also equipped for complex professional typography and includes ligatures, alternate characters and fractions. The face includes a number of numeral sets, including old-style and lining figures with superiors and inferiors. OpenType-savvy applications such as Quark or the Adobe Creative Suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Check out the informative .pdf brochure to see these features in action.

Suddenly...it’s the World of Tomorrow! With the push of a button Dynatype automates your typesetting experience. Dynatype is actually Two fonts in One–without switching fonts you can instantly change from Dynatype’s “regular” style to its alternate connecting version with the simple push of a button. For more details download “The Dynatype Manual” from the Gallery Section. What is Dynatype? Dynatype is the upright, slightly more formal cousin of Dynascript. It shares many of the characteristics of it’s slightly older relation, but is drawn entirely from scratch and has it’s own unique character. Dynatype may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. Its design also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this notion, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a font unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynatype’s 677 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynatype one should ALWAYS select the “Standard Ligatures” and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Step into the world of Skirt—the rounded sans-serif typeface that exudes style and sophistication. Skirt’s fluid forms will elevate your text with a playful yet elegant rhythm, while its cute strokes and delightful letterforms will add a unique touch to your message that is sure to turn heads. With three weights and italics to choose from, Skirt is versatile enough to be used for anything from fashion editorials to high-end branding. Its rounded ends give it a softness that’s perfect for creating a welcoming and approachable vibe, while its bold strokes make it stand out with a confident and modern appeal. Whether you’re crafting a brand identity for a boutique fashion label or creating eye-catching graphics for your latest editorial spread, Skirt will help you make a statement. This is not your average font—Skirt is an individualist with a lot of character, and it’s ready to add some serious style to your next design project. 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.

Looking for a modern and sleek typeface that stands out in the digital era? Look no further than Reversal. With its unique superelliptical letterforms, this clean and contemporary sans-serif typeface is the perfect choice for high-tech industries and any topic that requires precision and clarity. Inspired by the sleek plastic contours of modern vehicles and home appliances, Reversal boasts a squarish yet readable design that is both elegant and practical. Whether you’re designing a website, an app, or a marketing campaign, Reversal is the ideal choice for bringing a touch of futuristic sophistication to your project. Available in seven weights and italics, Reversal offers maximum flexibility and versatility. With its bold and dynamic shapes, this typeface is sure to grab attention and make a strong impression. So why settle for ordinary typography when you can elevate your design with the power of Reversal? Try it out today and see the future of typography in action. 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.

Barbou was originally cut in 1925 by Monotype as a counterpart to Fournier, siblings that were different in design but both based on the work of Pierre-Simon Fournier. Whether by choice, accident or oversight, Fournier was preserved digitally, and Barbou was lost to history. Barbou was notably used by Stanley Morrison, in particular as the face of The Fleuron. I fell in love with Barbou when I saw it, and knew that I wanted to bring it to a new generation of designers and readers. This is a revival of Barbou, a faithful recutting with new weights, characters and many of the best features that modern font technology brings. Particular attention was paid to the original Monotype Barbou 178 specimen sheet. Originally only available in a single weight, Barbou has been recut with a variable weight, providing a large degree of flexibility between Regular and Bold. Barbou excels as a comfortable reading face for books, and the variable weight allows you to fine tune the darkness and texture of the page in a way never before possible. Barbou has a distinctive softness, and this revival of Barbou preserves much of the effect the medium of metal type had on the letterforms. This results in a subtly rounded yet defined type, elegant not worn, with the utmost attention and respect to the smallest of details. Barbou was originally cut with disparate x-heights for roman and italic, and this revival of Barbou features both the original italic, as well as a new italic redesigned at the same height as the roman. In Fournier’s time, roman and italic would not be mixed on the same line, but the type must change to meet the needs of a new generation. Barbou also features unique ligatures and alternates, old style numbers, small caps and a full Greek alphabet. Barbou is perfect for books and anywhere a comfortable reading face is required, and excels in flexibility.

Introducing Domyouji, the typeface that seamlessly blends the industrial style of the 1970s with today’s sleek design ethos, all with a hint of Handel Gothic. Domyouji was purposefully created as the ideal high-tech body text companion for Korataki, combining soft curves and strong corners to give your message an undeniable sense of precision and technological accuracy. Each of Domyouji’s four distinct styles, including Regular, Italic, Dirty, and Spraypaint, offer a unique look and feel to suit your specific design needs. Whether you’re looking for a more refined and polished appearance or a bold and edgy statement, Domyouji has got you covered. With its dynamic and futuristic aesthetic, Domyouji is the perfect typeface to elevate any technological or industrial themed project, from sleek product packaging to cutting-edge advertising campaigns. So, if you’re looking to convey a message of innovation and sophistication, choose Domyouji, and let its modern yet timeless style speak for itself. 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 This Notes - Handwritten Marker Note Font is a delightful testament to the artistry of handwriting, meticulously crafted to infuse your designs with an authentic, hand-drawn aesthetic. With a distinctive yet versatile style, This Note is poised to enhance a diverse array of design projects, serving as a conduit for creativity and expression. At its core, This Note embodies the charm of handwritten notes, capturing the nuances and imperfections that make each stroke unique. It's a natural flow and effortless elegance make it an ideal choice for a multitude of graphic endeavors, ensuring its relevance across various platforms and applications. Highlighted Features: - Complete set of uppercase and lowercase letters, numerals, and punctuation marks - Unique alternates and ligatures for added character variation - Compatible with both PC and Mac platforms - Hassle-free installation process - Seamless integration with Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and Microsoft Word - No additional design software is required for full accessibility - Multilingual support encompassing characters such as ä, ö, ü, Ä, Ö, Ü, ß, ¿, and ¡ This Note transcends mere functionality; it becomes a catalyst for innovation and inspiration. Its versatility knows no bounds, seamlessly integrating into digital notes, quote designs, book covers, logos, posters, menu layouts, apparel designs, scrapbooks, comic illustrations, magazine headers, and numerous other creative avenues. The font’s adaptability is matched only by its ability to breathe life into every project it graces. Whether adorning a playful children's illustration or adding a touch of personality to a sophisticated magazine title, This Note lends an air of authenticity that captivates audiences. In conclusion, This Note Handwritten Marker Note Font isn’t merely a font; it's a conduit for creativity, a bridge between imagination and realization, poised to elevate your projects to new heights. Embrace its charm, leverage its versatility, and allow it to become the catalyst for your creative journey. Unlock the boundless potential of This Note, where each stroke tells a story and every design bears the mark of authenticity.

ATTENTION! See the newest version of Reina here. Reina Neue is now a family of 45 styles and it's also a Variable Font! Have a look. For the traditional version of Reina, you may stay here ;) --- Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide . Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe , Reina was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. TECHNICAL Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Sublime45-Regular Sublime Revised for 2021. One font in Opentype format as Sublime45. Families and all TT Truetype versions eliminated in this wonderful stand alone. The Spring 1997 original release of Sublime —borne an organic creature of black water soluble ink & digitized by Coniglio Type. Sublime is a fun font to use in commercial layouts. It is soft and fluid as ink. Like the wrinkles of time, it is imperfect. That in itself makes it incredibly attractive, warm and “human factor”. Sublime offers legibility so sorely missed in the current recreational font market. Sublime was inspired by World War II US fighter pilot Donald Alling. He flew missions over Nazi Germany. His squadron also dropped food, medicine and relief supplies over the Netherlands. Known as “the Colonel” to his friends. Don as a civic engineer ruled literally miles of ink letter callout’s with a template device called a LeRoy in peacetime on vellum and mylar across his career as a technical illustrator. You didn't want to screw up inking into a template with wet black permanent ink. You really had to have a steady hand and it was all done by hand. You can say Don worked “unplugged”. And that is cool! He was part of the broad stroke of postwar industrial expansion that helped keep America strong, rendering exploded views on top secret projects. Many of us were not even born yet when all this was going on. Today at over 80 years young Don is like a national treasure, savvy and bright—and the ladies love him! The Colonel remains a dedicated master airbrush man, stand–up man, caricature artist and letterman all without use of a computer! He was lucky enough to retire before a desktop cathode tube was put in his face. Today the Colonel enjoys restoring VW’s, flying and freelance consulting when not being called to supper by his lovely wife Rea.

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Cute FS Kitty is the type equivalent of Bagpuss: plump, cute, cuddly and not fond of exercise. So don’t go giving it a run-out on body copy; FS Kitty is an all-caps font made for showing off in posters and headlines, and on products, point-of sale and especially sweets. Blubber Kitty had been quietly curled up in Phil Garnham’s sketchbook for a year before he brought it out to be brushed up. “It was in the mix as a basic form when I started thinking about FS Lola. It was a twisted, bubbly beauty – quite squishable and huggable. The working file was called Blubber. “At that time it was a basic construction of strokes. I created the ‘A’ first, purely as a shape to play with, not as type. I flipped it for ‘V’, and copied that for a ‘W’. I flipped the ‘W’ for an ‘M’... I thought, ‘This looks a bit wacky, but I like it,’ and just carried on. The most tricky characters were the ‘B’ ‘P’ and ‘R’. I must have drawn about 20 kinds of B for this, just to get it to fit.” Variety “When the regular weight of Kitty had been designed,” says Jason Smith, “it just felt like a natural progression to go on and explore how far we could go with it: Light, Solid, Headline, Shadow.” Phil Garnham thinks there’s still more to come. “There are some really individual characters in this font that I think have yet to be exploited: the Greek Omega symbol, the strange face in the ampersand. Like Bagpuss, Kitty has kept a low profile so far. “We know people are using Kitty. In fact, it was the first of any of our fonts that we sold on the day it was released. But I still haven’t seen it out there in the wild. It’s going to be a exciting moment.”

Lapture is based on the Leipziger Antiqua by Albert Kapr, released in 1971 by the East German foundry Typoart. It has been extended and carefully redesigned by Tim Ahrens in 2002-05. The strong calligraphic characteristics are a result of the design process: "The size of the counters and the width of individual characters at small optical sizes were analysed with a steel pen while the letter shapes were designed in larger size with a specially trimmed reed pen. Sometimes the hand is more innovative than the head alone," says Kapr. A unique feature of this font is the introduction of gothic shapes into a latin typeface. "The basic concept is to string together narrow white hexagons as counters and inter-letter spaces, defined by vertical stems and triangular serifs. The interior spaces are at least as important as the strokes that make up the characters." Lapture is an ideal choice if a reference to gothic style is desired, as true black letter types are often too eye-catching and not as legible as latin fonts for unfamiliar readers. "The last few years have seen a number of very elegant typefaces based on the mellow and feminine renaissance model. However, sometimes we require a font that is strong and robust, harmonic yet rigid," says designer Tim Ahrens. JAF Lapture is provided in OpenType format. Each font contains more than 600 glyphs, including true small caps, nine sorts of figures, contextual and stylistic alternates and accented characters. This means that you only need to purchase one font whereas in other families you would have to buy two or three fonts in order to get the same. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. JAF Lapture Basic is provided in OpenType format. Each font contains the standard sets of both MacOS and Windows. In contrast to JAF Lapture they do not provide any advanced OpenType features and no extended glyph set.

Discover the mesmerizing power of Korataki—the ultimate contemporary font that pays tribute to the iconic ultramodern style of the 1970s classic, China/Chimes. With its simplistic yet striking industrial design, Korataki captures the essence of a bygone era while simultaneously bringing it into the modern age. The beauty of this font lies in its ability to communicate with unparalleled clarity and precision, evoking a sense of wonder and intrigue in the mind of the beholder. Whether you’re looking to make a bold statement or convey a subtle message, Korataki has got you covered. With seven distinct weights and accompanying italics, as well as OpenType alternates for A, G, Q, and 4, this font is fully customizable to suit your every need. Let Korataki guide you on a journey of creativity and self-expression. With its wide industrial design and timeless aesthetic, it’s sure to make a lasting impression on anyone who beholds it. 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, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.