INTRODUCING MONOLOGUE ROUNDED! A softer, more humane, and funnier version of MONOLGUE. MONOLOGUE itself is a simple, condensed sans serif font with bold and complex personality. It was purposely crafted to be used in large point sizes, although it doesn't lose it's magic in small point sizes. With this rounded version, you can be even more expressive in your design projects. FEATURES: Basic latin characters, numerals, punctuations and symbols. Extensive language support, including slavic languages with cyrillic alphabet. Stylistic Alternates Stylistic Sets (ss01–ss06) 100+ Discretionary Ligatures Ordinals Preconstructed fractions Fractions Superscript and Superscript Numerals Kerned, spaced, and hinted If you have any questions, please don't hesitate to contact me via email at muhtadi.yusril@gmail.com. Check out my other works, such as font design, lettering, and type exploration on Instagram @yusril.muhtadi (https://www.instagram.com/yusril.muhtadi) Thank you for visiting and have a great, great day! Yusril Muhtadi

Monostep is not just another Typewriter. It can do so much more! It is available in five rigorously designed font styles; all of these come in Straight, Rounded and in Italics respectively. It contains geometric symbols as well as all of the characters of the Indo-European alphabet. What makes it so different, and thereby remarkable, are the 77 ligatures that combine letters in upper case, in upper case with lower-case letters and any combination of lower-case letters. Monostep is alive! It will be introduced into the typing script market with a highly characteristic corporate design. Various promotional gimmicks such as a specimen brochure, posters, a website, animations and a promo film with a distinct sound, including lyrics and a dance, make Monostep a truly recognizable label - they bring Monostep to life. That will make you want more: Let me see your Monostep! www.monostep.de

The 1928 logotype for Sertal Toiletries consisted of a stylized woman's head, a very snaky S, and five fine, fat deco caps spelling out the rest of the brand name. From these five clues, designer Nick Curtis divined the rules" of the typeface and drew a complete alphabet, including a lower case. The result: ITC Scram Gravy. The finished product could be described as Bodoni on steroids. Tight curls in characters like the 'm,' 'r' and 'y' soften the lower case and give the design a light-hearted flavor. ITC Scram Gravy takes its name from one of many running gags in the screwball comic strip "Smokey Stover," which had folks alternately splitting their sides and scratching their heads from 1935 to 1973. Those familiar with Bill Holman's strip will recall Smokey's car, the Foomobile, and one of his famous nonsense declarations: "No foo-ling, that scram gravy ain't wavy.""

The product of 5 months of work. This unicode font supports 1 latin and 16 ancient languages. When you install this font, the latin alphabet will appear if you do not have the appropriate software. Although there are other unicode fonts that print these ancient texts, this font has the design I use in all my fonts. That's the difference. You can easily use this font with related software. https://www.babelstone.co.uk/Software/BabelPad.html you can choose my font with babelstone babelpad software at this address and write it here and then copy and paste it to the relevant place. This font includes the following languages. Latin, Old Hungarian, Old Turkic, Old Italic, Runic, Tifinagh, Lycian, Lydian, Carian ,Phoenician, Cypriot, Ogham, Old South Arabian, Old North Arabian, Includes, Old Percian, and Ugaritic. This is a unicode font. Please learn how to use it and buy it.

Knoedel is a display typeface with three front-weights: light, regular and bold. Although a conjunction of different styles were a reference during the design process; the art deco style left a more noticeable influence in the final design. Knoedel, also has clear references to geometric and slab serif fonts. The design is intended to be applied on headlines or short text fragments. Knoedel offers full coverage for all languages using Latin alphabet: whole Europe, America, Oceania and on a big number of African and Asian countries. Besides the standard ligatures, Knoedel, additionally, has more than 200 discretionary ligatures and a generous number of borders and ornaments. Knödel (Knoedel) is a traditional dish from Austria and the southeast of Germany; made of dumplings of different ingredients usually boiled in salted water. It is not high-end cuisine but still, it accomplishes its aim of soothing hunger.

When the right late seventies / early eighties message is needed, Toisy comes to the rescue. Founded on a mix of references from letterforms of the time, this new original nods to a style that defined an era. A sexy theme font that conveys a clear image of what was truly chic thirty years ago, this alphabet is deeply rooted in sultry memories of soft, endless nights. Exaggerate contrast between strokes and angular lines combine with rounded corners to provide a unique character and a look that sharply differs when set in all caps or lower case, thanks to an uncommon treatment of density and proportions. Set it real tight, as was typographically in fashion circa 1981. Toisy and Toisy Greek include a set of 13 matching images inspired in leisure stuff and the clothing of the last days of disco. They are different from the set included with Toisy Alt.

Superb is a new typeface based on real brush pen script and also influenced by lettering shapes from the sixties and seventies. The font includes various swashes with volume and curls.. Superb’s letters got high contrast and some psychedelic curves. This font includes negative figures and a full alphabet set with cut out shapes. Take a look at the Superb Video https://vimeo.com/94062611 It’s designed with high contrast and enhanced legibility regardless its artistic look. Superb’s original letterforms are a beautiful piece of art and elegance no matter you observe them as separate symbols or as words, text paragraphs etc. Their appropriate use could be found therefore in many different aspects – from decorative greeting card, fresh packaging or expressive headline, to artistic t-shirt design, poster or distinguished brand name. Superb has a lot more to show when you access its OpenType features.

Introducing Berliant, a modern signature font. This font was designed by handwriting, and it has unique forms of calligraphy, the writing style is very natural. The Features of this fonts are: Standart ligatures Discretionary ligatures Berliant has PUA Unicode (Private Use Areas) Programs that support this font are Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Languages supported: Breton, Catalan, Czech, Danish, Estonian,French, German, Hungarian, Icelandic, Italian, Romanian, Scottish Gaelic, Slovak, Latvian, Lithuanian, Norwegian, English, Finnish, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Welsh. Basically all European languages that are based on the Latin alphabet. Berliant can be used for various purposes such as headings, logos, wedding invitation, t-shirt, letterhead, signage, labels, news, posters, badges etc.

"If you prick me, do I not bleed? If you tickle me do I not laugh? If you poison me do I not DIE? And if you wrong me shall I not REVENGE?" "I am not a TYPEWRITER! I am not a MACHINE! I am -- NOT -- JUST -- a lettering ROBOT! I -- AM -- A -- HUMAN -- BEING!" Having trouble with YOUR lettering artist? LETTERBOT is here to help. Take all the fuss and muss out of dealing with a real person and install this helpful and responsive robotic font. It has no opinions of its own and will assist you in the lettering of your comic without all that tedious human interaction which lettering artists seem to think they're entitled. Designed by John JG Roshell.* *Now obsolete. Features: Four weights (Regular, Italic, Bold & Bold Italic) with upper and lower case alphabets. Includes Western & Central European accents and Cyrillic characters.

Sunshine is the unlikely alphabet collision of Gobbler and Liquorstore. Chank's napkin scrawl smashed into the letters commonly found on signage at the neighborhood liquor store. Gobbler's blotchy textures fragmented Liquorstore's uniform stroke. It began as a hideous lumpy thing with random vector points everywhere. Chank came to the rescue with his Alphabetician's first aid kit. He smoothed the blunt corners with a few hammer blows. He wrapped the font in extra strokes, in a sans serif Roman style, to increase its contrast. His industrial influence helped stabilize Gobbler's gloppy qualities and his grunge aesthetic softened Liquor store's checkerboard rigidity. The end result is a font with a solid structure and a painterly wiggle that creates a dirty display or a slightly clumsy text face. Because of its many detailed strokes, it tends to look a little better in print than on the web. All organic. Earthy.

Eckhardt Poster Text JNL continues Jeff Levine's series of sign painter-oriented fonts, named in honor of his good friend Albert Eckhardt, Jr. (who ran Allied signs in Miami, Florida from 1959 until his passing). Sign painters are the true heroes of lettering, for they make the alphabet and style fit the job. Printers and layout artists were constricted by metal and wood type; that is until photo lettering, then digital type opened up unexplored territories in design possibilities. There is a unique charm (and nowadays pretty much a lost art) to hand-lettering word copy in a way that draws the eye like an arrow to a target. Even a simple sanserif such as Eckhardt Poster Text JNL can have the effect of that hand lettering when applied to posters and pages with plenty of white space and matching type designs of the period.

Near the end of his life, legendary type designer Eric Gill lived in Jerusalem, and became interested in the typesetting of the Hebrew alphabet and the challenges it entailed. He designed his own Hebrew font which has not (to my knowledge) been digitized before. It is sometimes held up as an example of how not to do a Hebrew font: Gill introduced strange serifs and shapes that were jarring to readers used to more traditional fonts. But it is quite readable, and does start to grow on you after a while; extended text in Gill Hebrew is possible. I've added a set of alternate digits that are based on the shapes of the letters (Gill's digits are pretty standard text figures). I've also made some of the Unicode Hebrew symbols that Gill didn't (e.g. New Sheqel Sign, Alef-Lamed ligature, etc.) and also included vowel-points.

I have completely redone the spacing in this font, making the sidebearings more conventional. And after replacing the kerning with fresh pairs working together with the new spacing the font looks like a real gem. I love it! The inline version has a wider spacing after the letters CEK = no connecting words. Otherwise just as lovely and retro! Nick Curtis says: "Here’s a strange hybrid: I took the lower case from the formal script font Stuyvesant, straightened out its rather extreme 22° slant, and combined them with caps from the font Bellevue, again making them upright, and adding an inline effect. The result is a font that flows very nicely, with a nice balance between clean lowercase characters and swashy caps. Thanks to Deb Dunbar for naming this font. Fontleroy Brown is the solid version, produced at the request of the King of Ding, Jeff Levine." 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.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Another typical Art Deco font from Nick Curtis. Uppercase only, but with alternate letterforms in the lowercase positions. I have completely redesigned all the diacritics (which were way too flimsy for this robust design) before expanding the character set in the usual fashion. Nick Curtis says: "Back in the Olden Days of Graphic Design B.C. (before computers), type freaks used to wait in anxious anticipation for each new release of the Letraset catalog. The inspiration for this font, Premiere Lightline, was one such release, and probably help spur my interest in Deco designs. The original font was VERY light indeed, suitable only for use in large sizes. My version is beefier, and includes an entire lower case of alternate letterforms, making this (at least) two fonts in one. The name is the 40’s hep talk equivalent of “Cool!”". 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.

Some typefaces need time to ripen; Burian and Scaglione made the first sketches for Ebony back in 2008, but it took a few years of maturing in a drawer to be developed into a multi-functional type family. While keeping in tune with TypeTogether’s focus on complex typographic structures needed for magazine, newspapers and books —whether printed or digital—, Ebony goes far beyond editorial use and promises great performance in branding and advertising. The range of dark weights with taut and powerful curves can boost any headline, while the lighter styles create an approachable and clean feel in blocks of continuous text. Ebony does not fall short on aiding legibility either; letterforms have a distinct direction of ductus and features like the top serif on ‘l’ help making them clearly distinguishable from each other. It is a type family that cleverly seeks a balance between the openness and legibility of humanist sans serifs and the striking and more regularised character of grotesques. The letter-shapes feature generous counters and open terminals with crisp angles, and daringly grow both in colour and width as the fonts get bolder. Infused with this strength, Ebony also shows a quirky side in some of her shapes; the vertical fractions, the at-symbol, the old-style numbers, … The predominantly slanted style of the italics is broken up in some letterforms, such as ‘a e f l’, that are more in line with a classic cursive appearance. This, together with a forceful italic angle, ensure a change in texture within a block of text, despite sharing the same letter weight and width with the uprights. With 18 styles, tending towards the heavier part of the weight-spectrum, this face has a powerful quality!

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection. Even though it is strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) it is not slavishly modular: letters have differing widths, and the sidebearings, spacing and kerning has been finely adjusted to create smooth text. The Soft family contains three weights each with 6 variants: A is the basic form and the starting point B has more dynamic and modern shapes C has open and swirly shapes X is the serious text version Y has a very horizontal look Z is a collection of all the remaining more funky shapes Mix and match to your heart’s desire! Please enjoy the free “Bold N” version - this “notched” variant lets you test out the quality of the outlines and the language support. 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 history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. 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.

I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

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.

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

Font Etruria is based on a real Etruscan inscriptions and realistic accurately simulates the writing of the Etruscans. The idea of the font Etruria is to give an opportunity for anyone to touch the past of mankind! The character of the Etruscan alphabet involves the creation of a font with only uppercase letters. However, I did not limit this font by that. Etruria has not only a lowercase is different from uppercase, but an additional sets of alternative characters. In General, the main characteristic of Etruscan writing is randomness and diversity of characters. Differs from lowercase to uppercase is only the first step on the road to make randomness effect. Next to the aid of the OT features. To recreate the randomness effect, in Etruria there are several OT features (Contextual Alternates, Stylistic Alternates and Stylistic Sets), which built a script to simulate randomness. Additionally, another script creates the effect of random positioning. Together they create incredibly realistic Etruscan inscription. Thus, any of these features can be disabled at will. I also used a small line spacing, because it is characteristic of the Etruscan writing. Actually the Etruscan writings is a mirror of the writings compared with the current European alphabets. I didn't use this feature all the letters, because this would make the font difficult to perceive, but to make the font characteristic of the Etruscan style, Etruria has a few letters in mirror image. However, if for someone it may seem unusual, mirrored letters can be disabled instead of them will appear more familiar to them. Another feature of Etruscan writing is the use instead of a space dotacentered. Font Etruria has this feature, there is a OT feature Stylistic set ss03. Naturally, it also can optionally be disabled. All these features can be used together, separately, or turn it off. The main goal achieved! The text typed in Etruria, creates full impression of these Etruscan inscriptions.

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

Syntachron is an extraordinary monospaced font that stands out with its futuristic and mecha-inspired design. What sets this font apart is its unique ability to combine simplicity, modernity, and boldness, resulting in a visually captivating typeface. It is the perfect choice for those seeking to create impactful posters, eye-catching marketing materials, captivating logos, attention-grabbing headlines, and engaging book and magazine layouts. One of the distinguishing features of Syntachron is its compatibility with the Cyrillic alphabet, offering versatility and style for a wide range of design projects. Whether you're working on international branding campaigns or multi-language publications, this font seamlessly integrates with the Cyrillic characters, ensuring consistency and cohesiveness across different languages. In terms of typeface pairing, Syntachron harmonizes exceptionally well with related families and typefaces that share its sleek aesthetics and futuristic vibe. It complements and enhances other fonts, enabling designers to create stunning combinations that amplify the impact of their designs. Beyond its striking appearance, Syntachron excels in its functional aspects. The font comes in a variety of styles, allowing for versatility in design choices. Its monospaced nature ensures consistent character widths, making it ideal for code snippets, technical documentation, and typewriter-style layouts. Furthermore, Syntachron offers a comprehensive character set with special features, enabling the seamless creation of diverse and engaging designs. The design concept behind Syntachron was to capture the essence of a futuristic world and merge it with the mechanical elements of mecha-inspired aesthetics. The result is a font that exudes a sense of cutting-edge technology and boldness, empowering designers to create visually striking and impactful designs that captivate their audience. Syntachron was meticulously created to fulfill the need for a font that seamlessly merges modern simplicity with futuristic design elements. Its purpose is to provide designers with a versatile tool that sparks creativity and enables them to craft stunning visual experiences. With its sleek aesthetics, support for the Cyrillic alphabet, and functional aspects, Syntachron is an indispensable asset for any design project seeking to embrace the future.

Typography enters the Space Age! Dynascript brings the ease of “Pushbutton Automatic” to your typesetting experience. Dynascript is actually Two fonts in One–without switching fonts you can instantly change from Dynascript’s connecting font to the non-connecting italic with the simple push of a button. For more details download “The Dynascript Manual” from the Gallery Section. What is Dynascript? Dynascript is the slanted script cousin of Dynatype. It shares many of the characteristics of it’s sibling, but is drawn entirely from scratch and has it’s own unique character. To some it may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. The design of Dynascript 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 claim, 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 script unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynascript’s 694 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 Dynascript 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.

Film Fiction Semi Expanded has been updated and will now beautify your designs under the name TA Film Fiction Semi-X. We've already updated and revitalized TA Film Fiction Semi-X to ensure it perfectly matches your evolving creative vision. The inclusion of tabular figures, old-style figures and alternative glyphs expands your design palette and allows you to adapt the font to your unique style. TA Film Fiction Semi-X has been updated experience the appeal – this can be your font of choice to enhance your brand identity, cinematic efforts and editorial design. This brilliant typeface is not just a typographic tool, but a creative catalyst for headlines, logos, web elements, signage, posters and fashion apparel, packaging. TA Film Fiction Semi-X does not follow trends, it defines them, imbuing each project with a true modern essence. Embrace the possibilities with 9 different styles, each boasting a large set of 758 glyphs. Discover OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Subscript, Superscript, Tabular Figures TA Film Fiction Semi-X supports Khinalyg (Xınalıq) alphabet Test your alphabet, explore the nuances and witness the transformation. And if you're at any creative crossroads, I'm here for you. If you want to customize TA Film Fiction Semi-X, need font files or have any other questions, please reach out to me at t@taft.work. TA Film Fiction Semi-X be the cornerstone of your creative journey. Elevate your designs, embrace innovation and redefine possibilities with TA Film Fiction Semi-X, where each character tells a story. Questions? Contact us at t@taft.work Instagram @taft.work or @tural_a Visit us https://taft.work/

Don't we all have a silly habit? I've got mine, for sure! - like checking whether I remembered to bring my keys, immediately after locking the door...and then checking again like 2 minutes later! Silly Habit is my laid back comic font, easy to read and fresh enough for a design that needs an extra party to it! Comes with contextual alternates, which in this case means 4 different versions of each lowercase letter

Neuramatica is a low contrast sans serif font. Simple letter form makes that this font has a high level of legibility. Thus making Neuramatica look very modern. Neuramatica has five different weights, ranging from Light, Regular, SemiBold, Bold and Black. This font is highly recommended for use as a bodytext or headline, because it has good legibility. Design with a swiss style is perfect to use this font because it gives the impression of a modern and simple but still able to read well.

Danish type designer Jan Maack created this slab FontFont in 2013. The family has 8 weights, ranging from Light to Black (including italics) and is ideally suited for advertising, packaging, logo, and branding as well as web and screen design. FF Marselis Slab provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

SCALTER was designed in the early April and published in July 2020. Scalter Serif is inspired by the characteristics American vintage sign then the sans serif it’s combination retro typeface. All shape of this typeface is make strong and more contrast, giving a more dynamic and retro feel. Scalter are available in 5 Widths (Condensed – SemiCondensed – Normal – SemiExpanded – Expanded) with matches 4 style (Serif – Semi Serif – Sans Bold- Sans Black - Script) with a total 42 Styles. Also includes support for 26+ Latin (Extended) Languages.

Since you like to look, Angel Koziupa and Alejandro Paul bring you Voyeur, an entirely different direction from their usual collaborations. This typeface attracts two opposite design theories by mixing bold and blocky modernism with delicate ornamentals. The unlikely mix is not haphazard, however. It is calculated with an alchemist's (or voyeur's) attention to detail. This font includes many, many different ornamental treatments, each adjusted specifically for its letter form counterpart. Open your glyph palette to find plenty more variation and alternative combinations. For everyone's eyes only.

Like the name suggests, the pi font Afroculture from typeface designer Boule Yvan depicts symbols and figures from African folk art. Stylized masks with different expressions and a number of sculptures lend variety to this font. The figures are consciously simple but shown from different perspectives. The black and white surfaces contrast with another and suggest the interplay between shadow and light. The figures of Afroculture are perfect for illustrating texts in a related context and their details come through best in larger point sizes.

Goldbarre is a finely engraved slab serif face in the spirit of ‘between the wars’ commercial confidence. It’s a solid and dependable face of distinction for use on certificates and posters which need to convey an emphatic yet refined message. The letterforms of Goldbarre combine finely hatched shading with and embossed, three-dimensional, quality. The utility of the family is further enhanced with Goldbarre No 2 - a solid shaded face, Goldebarre No 3 - an open embossed face, and Goldbarre No 4 - a basic black slab-serif face.

Everyone loves black, strict stylish and elegant shapes. We strive to be perfect. Right? But ... don't you think we have lost something? Maybe childish spontaneity? The Cattyfox font will take you back to those wonderful times when there was no need to be serious, when the whole world was not so serious. If you want to have some uncompromising fun, hover above the crowd to show everyone how free you are, just create something in Cattyfox font and you will understand what true freedom is.

Bonaventure is a Roman display family full of the spirit of the Art Nouveau era, and joins our popular related group of families which also includes Bonning, Bonnington and BonaVia. Three weights are offered, including a shadowed black form, in a choice of three widths: regular, condensed and Expanded. It's the ideal family for signage with a period feel, as well as for posters, headings and certificates. A combination of Bonaventure with Bonning and its other related faces will bring a harmonious design ethos to any project.

German type designer Hans Reichel created this sans FontFont in 1996. The family has 6 weights, ranging from Light to Black and is ideally suited for advertising and packaging, book text, film and tv, editorial and publishing as well as small text. FF Schmalhans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

German type designer Verena Gerlach created this sans FontFont in 2008. The family has 8 weights, ranging from Regular to Black (including italics) and is ideally suited for festive occasions, editorial and publishing, logo, branding and creative industries as well as sports. FF Chambers Sans provides advanced typographical support with features such as swashes, ligatures, small capitals, alternate characters, case-sensitive forms, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Narevik consists of 7 styles -- 4 uprights (including black) and 3 italics. It’s a type of dynamic low contrast design with slightly rounded triangle serifs and drops which conveys to it a certain peculiarity. The vertical strokes have gentle intasis that brings additional softness to the shapes. The family was created by Armenian designer Manvel Shmavonyan and got its name after his daughters Nare and Arevik. It can be used in text composition as well as in display matters. Released by ParaType in 2011.

Amonos Display Font Family aims for a modern and simple lifestyle. Sleek and stylish skeletons boast a unique style from thin to black weights. Regardless of weights, 18 styles have special talents related to headings, subtitles and logos. The understated metaphor and sense of stability is the best alternatives for creative typography. Therefore, it supports stable dynamics beyond the biased simplicity of geometric fonts. And some different Glyphs of oblique typefaces add to the delightful fun. Enclosed Glyphs and Symbols will be so useful for editorial design.

Brolian is playful and stylish designed font for any display use with 9 weights from Thin to Black. Brolian also includes with more than 200+ alternates characters (PUA Encoded) and 50+ ligatures to give you a wide range for create a beautiful typographic design results. Brolian is versatile font for many different projects such as logo, branding, poster, magazines, labels, merchandise, invitation, presentation, advertising, quotes and so much more! FEATURES: OpenType support Playfull to use (with ligatures and alternates options) Multilingual support PUA Encoded