Quado is friendly style font designed for such areas as Entertainment, Techno, Games & Applications etc. with Multilingual support (Latin Extended). Please see the preview images to see how it works.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Paneuropean covers Eastern and Western Latin, Greek and Cyrillic Extended.

Mystical Woods is a script and caps font duo. I went back to the basics for this one -- ink and a brush on paper. I cleaned up the letters enough so that there are no jagged edges, but left enough of the character to keep that inky look -- those are the Rough fonts. Then I went back through again and cleaned the heck out of them, making every line and curve smooth for our cut-crafting friends -- those are the Smooth fonts. Since these two fonts were written together with the same tools and style, you can also mix the script letters in with the caps letters! Each font comes with a full set of standard characters and punctuation, as well as over 300 extended Latin characters for language support. And the script fonts also have 45 double-letter ligatures!

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Greek Ltn covers Greek and Latin.

Lightly sailler is a beautiful new serif font that's created to complement a classic style for your project needs to be more perfect. Classic curves and sharp serifs make the Lightly sailler Serif feel elegant and nostalgic, at the same time, while still leaving enough simplicity to use for both headings and body types. It is also equipped with four special ligatures (ct, st, it, ck, sl, el, et, the, and end) as well as alternate features either capital or lowercase with a little tail that bumps the letters after which is a combination idea to give a more elegant impression. provides extra flair and body text legibility. Test the Lightly sailler in the box above to see how it works for your next project! Lightly sailler Includes: Uppercase & lowercase letters Numbers & Punctuation Ability Foreign language Ligature Alternate

Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera, but unlike some of our previous fonts (i.e., Leitura) Acto doesn't exactly match Acta in terms of structure, so they can live on their own. Acto is our first sans where the uppercase has the same height as the ascenders, so we decided to avoid common problems like the confusion between the I and the l, by drawing a curved l. We kept that spirit by removing the spurs on the b, g and q, resulting on a more warm typeface than Prelo, for instance. In the end it's a very powerful sans family, with eleven weights with matching italics, for editorial and corporate design.

Mortissimo – A Beauty Serif Typeface Mortissimo, a captivating beauty serif typeface, exudes timeless elegance and sophistication. With gracefully elongated serifs and finely crafted letterforms, Mortissimo strikes a harmonious balance between classic aesthetics and contemporary design. Its delicate strokes and subtle curves convey a sense of refinement, making it an ideal choice for projects that demand a touch of grace and charm. Whether used in print or digital media, Mortissimo’s intricate details and graceful proportions contribute to a distinct visual appeal, capturing the essence of beauty and timelessness in typography. Mortissimo is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Please welcome the new grotesque family; slightly more geometric than Block Berthold but much softer than the industrial Din Next, Rockeby includes a lot of stylistic alternates and ligatures to help add character to any type of design. The slightly curved diagonal strokes give the sans serif fonts its unique personality and soft look. Even more - the family has two scripts (4 weights each) which will enhance the design even more. Combining italic with the script has never been easier - they both have the same italic angle. These scripts also benefit from contextual alternates, swashes and ligatures. And last but not least, the family also includes Extras fonts (which also have 4 weights) which can further enhance any design you are creating. There is an new addition to the family - Rockeby SemiSerif and Rockeby Brush families!

The old Norse legend of Thorben Odinson is a cautionary tale. And this typeface, like the nebulous kingdom he ruled, is something of a cloudy concoction. Thorben the typeface is something of an inspiration-hybrid, pulling aspects from multiple sources and combining them into a typeface that strangely seems to work (or not – depending on your point of view). What started as a redrawing of some old carvings (on a castle wall in deepest, darkest Suffolk), is now something entirely different. Part Nouveau curves and Celtic script, topped with a few sprinkles of modernism, darkness and some quirky ideas – Thorben absorbs it all, creating a display face that feels antiquated and current at the same time. Each style also comes pre-loaded with a handful of pictograms and icons perfect for adorning your designs with extra Thorben-ness.

A Luxury Modern Feminine Curly Font that we created special for elegant branding needs, with unique shape will be ready to add value of your brand. It. We prepared any characters to help you create unlimited variations for your creative needs. Aruita Luxury Modern Feminine Curly Font ready with: Unique Beauty Characters wit swash as alternates inside Preview as a inspirations that you can do with Aruita font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

Tripper is a rock-hard display font family. The six styles – from Light to Black – of this robust stencil typeface will assure your text grabs all the attention it can get. Instead of settings large amount of texts, just use this font for a small amount of words. Or even better: just one word. But most importantly: make it really, really, really big. The lightest weight is pretty condensed, and slowly expands when the weight increases. The bridges – essential to a stencil font – have the same width across all styles, so you can safely apply all styles in the same size without the risk of stencils falling apart. Due to the absence of curves throughout the whole family, Tripper is suitable for more limited, industrial applications too. Tripper comes in several flavours. Next to the basic flavour, there is a stencil family which automatically creates borders around every letter, word or line. Then there is Tripper Rough, a textured version with that intelligent random, grungy look. Together with the previously released multi-colour font Tripper Tricolor, the complete family consists of 24 styles. Tripper is equipped with a bunch of OpenType features, like different figure styles, fractions, superiors, etc. But if all the OpenType ding-dong is not enough for you, just try the ornaments. The separate ornament font comes with icons, indicators, manicules, banderoles and patterns.

Unleash a nostalgic vibe with 'Pixel Engine', a font that pays homage to the golden era of gaming. This pixel-inspired typeface effortlessly blends the charm of retro aesthetics with a touch of modern design. Ideal for gaming logos, pixel art, or any project that craves a vintage arcade feel, 'Pixel Enginel' brings a playful nod to the past while staying firmly rooted in the present. Features: - Uppercase & Lowercase - Numeral & Punctuation - PUA Encoded - Multilingual support - Simple Installation - Work both on Mac and Windows Thank you very much :)

This is the Alter Rebbe of Liadi Ksav. This is a complete font with all diacritic marks (Nikud and Taamim) and also shevana, kamatz katan, dagesh hazak and holam chaser. There are 2 alternatives kinds of Lamed. The Nikud and the Trop are completily independent of the letters. You can use diferent colors in them. There is no combination of letters except for Alef-Lamed ligature. Two diferents kinds of "He" appears in the Tetragramation. You can make any kind of prayer book with this font.

Introducing Pixel Retro - Display Typeface Font Pixel Retro is a bitmap font base on the from Namco Arcade Games. This Font is Perfect for Movie, Game, Film, Logo Brand and T shirt Design FEATURES - Uppercase and Lowercase letters - Numbering and Punctuations and Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. **Note: All images on the demo is just for preview purpose only and not actually included on the files**

Freda Sack and Colin Brignall collaborated to produce the Victorian typeface. Their work was inspired by late 19th century display letterforms, and they sought to create a new ornate font in the same style. Victorian superbly reflects the refinement of the late 19th Century. Victorian Inline Shaded was designed by Nick Belshaw. He was inspired by late 19th century display letterforms, and sought to create a new ornate font in the same style. Victorian Inline Shaded superbly reflects the refinement of the late 19th Century.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.Today Rotis ia also available with pan european caracter set.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.Today Rotis ia also available with pan european caracter set.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

La vie est une fleur dont l'amour est le miel Fleur is the French for flower and I've chosen this language for a good reason. Over the past 5 years, I've had the opportunity to travel a lot to Paris and I've always tried to catch every moment and detail of this delightful city through the eyes of the designer inside me. Paris is full of surprises, mainly for us, artists. In fact, I believe the city is a museum itself. Every corner of any street has something inspiring. But, there’s something I particularly love and I want to address here: The Palais Garnier. Built between 1861 and 1875, this opera house is a dream made true for many of us, who love somptuosité. Garnier, the architect of this magnificent building, said that the style he proposed was not Grecian nor Roman/baroque, he created something new and called it Napoleonic: Luxurious at its best. Fleur is inspired in this palace which, in fact, has some similar letters inside. Garnier put his name at the ceiling of the Rotonde des Abonnés: Letters are interlacing each other with nicely done art nouveau curves. I thought I could take this idea and achieve something very delicate and imposing at the same time if the font consisted entirely of caps with the logic of a didone and a bit of art-nouveau. This mix of elegance and flamboyance gave birth to Fleur which has a wide range of uses but was mainly intended for perfumes, fashion magazines, storefronts, book covers or logos. Not only you'll find many decorative glyphs, but also a vast amount of unique ligatures will make you really adore this font. Get Fleur and profite de la vie TECHNICAL As suggested above, the font has many open-type coded alternates and a vast amount of unique ligatures. Install the font in applications that support them, like Adobe Illustrator or Photoshop.

Midnight Romance is a type of handwritten font that features an elegant and romantic handwriting style. This font is perfect for designs that require a personal and feminine touch, such as wedding invitations, greeting cards, or merchandise designs. The cursive strokes of Midnight Romance flow smoothly and gracefully, lending a touch of sophistication and charm to any design. The letters are delicately formed with an intricate attention to detail, making them ideal for designs that require a more refined and delicate look. Overall, Midnight Romance is a beautiful-handwritten font that exudes a sense of elegance and intimacy, making it a perfect choice for any project that requires a touch of personalization and romance.

Betterside is a sweet and cursive handwritten font. This gentle font will look gorgeous on a variety of design ideas. It will add a joyful and romantic touch to each of your projects! The font is perfect for greeting cards, branding, business cards, quotes, posters, stickers, blogs, logos, weddings, signage, packaging, birth announcements, photo overlays, wall art, quotes, printed materials, bags, t-shirts and more. . . ! What’s Included : Web Font Ton of glyphs Ligature, Alternate & Swashes Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Thank you for your purchase! That’s it !! Have fun using our font 🙂

Gyst is a neo-humanist sans-serif typeface that artfully blends the principles of Grotesque and Antiqua. With its classic uprights and the serifs in its true italics, Gyst spans the arc from a modern humanistic sans serif to a captivating calligraphic serif. Contrasting strokes and luscious, on the other hand razor-edged terminals reflect a sense of grace, thriving at the intersection of geometric precision and flourishing sophistication. Made for body text as well a s display use. In any situation, you will find the autonomous cursive posture to be a perfect playmate for the upright. Gyst comes in four upright and italic weights, all equipped with a whole lot Alternates and Ligatures.

Venetian 301 is the Bitstream version of the Centaur type family. Centaur was designed by the American book designer Bruce Rogers on the basis of Venetian typefaces of 1470 of Nicolas Jenson. Beautiful Italic based on a face by Ludovico degli Arrighi was developed by Frederic Warde who was an American calligrapher and typography researcher was added as Italic to Centaur. Adapted for mechanical composition by English Monotype in 1929. Its lettershapes owe much to pen-drawn letters of Italian humanist minuscule and cursive. This elegant humanist face is useful for the finest typography both for book text and display matter. Cyrillic version included small caps was developed for ParaType in 2003 by Dmitry Kirsanov.

Daniela Script is a handwritten cursive font. It is a modern and elegant script and can be used for various purposes such as logos, wedding design projects, invitations, heading, t-shirt, letterhead, signatures, greeting card, handwriting and more. Daniela features 370+ glyphs and 184 alternate characters. including initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Klementina is a cursive typeface based on brush pen handwriting. It has flowing feminine shapes and letters drawn with care and love, much like you find in a romantic young lady's album. All characters settle into a line with ease, partially thanks to a number of ligatures and contextual alternates that help you avoid unpleasant combinations. This type is ideal to set something personal and touching. It will have this effect regardless of the presence of any sense in the text. Due to the attention paid to fine details it looks great even in big sizes. Klementina will come as a helping muse to any designer working with wedding invitations, announcements, gift and delicatessen packaging, or magazine layouts.

Hummingbird is reminiscent of old-fashioned cursive penmanship found in treasured letters bundled together by silken ribbons or in worn leather-bound ledgers. Hummingbird is graced with an impressive number of contextual alternates (214!) that bring a flowing randomness to the typeface, creating a more natural handwritten appearance. The font also has 266 swashes including an entire set of decorated uppercase letters that add personality, emphasis, and beauty. See what’s included! http://bit.ly/2cdVw4d *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Nimbus Sans ME is the expansion within the Nimbus Sans family for the Middle East range: Arabic (incl. Farsi) and Hebrew. Volker Schnebel has designed both scripts, which each include five upright and five cursive styles. The design is contemporary and fits the Latin Nimbus Sans. Besides the basis characters, the Arabic also includes the presentation forms: the variations for initial, medial and final letters. The correspondent OTF features are included in the fonts. All three scripts are perfectly combinable. Nimbus Sans is one of the best supported and most favored URW fonts ever. It is available as a Global Font in 4 weights and contains up to 65.000 characters per font.

Handsome, adventurous, legible and elegant, this script has the feel of practical handwriting from past centuries. Aquiline is based on a cursive italic style influenced by the 16th century European writing masters. The Aquiline design team turned to Ludovico degli Arrighi, the great 16th century writing master, for period ideas on how to improve, strengthen and add grace to the font. Aquiline has strokes and gestures that seem very like the writing of Arrighi and Mercator, such as the flamboyant balloon of a flourish on the cap A; the graceful flourishes on the cap B, D, and L; and the compact lowercase with tall ascenders. Aquiline has a strong personality and is historically correct.

Fellbaum Grotesk is a condensed typeface with both grotesque and cursive/humanist attributes. Fellbaum Grotesk Regular presents a clean, “grotesk” exterior, while the Italic version features faint slab-style flourishes. These characteristics, combined with a subtle stroke contrast and slightly extended x-height make for a distinct, and artisanal appearance. The family was inspired by the condensed & sterile, yet quirky, sans serifs found on a lot of vintage apothecary labels & municipal street signage. Both styles in the family are modest enough to work as secondary fonts, but also sport enough character to work as a primary sans face for wordmarks, logos, headers, etc. Fellbaum Grotesk Features: • 14 Fonts, 7 Weights, 2 Styles • OpenType Support • Adobe CE Language Support • Dingbats

Mithic, a captivating handwritten script font, effortlessly combines fluidity and grace, breathing life into every stroke. Its meticulous cursive detailing reflects a perfect balance between elegance and informality, making it an ideal choice for projects seeking a touch of personalized charm. The individuality of each character in Mithic resonates with authenticity, conveying a sense of warmth and human touch. Whether used in invitations, branding, or creative displays, Mithic captures the essence of handwritten beauty, bringing a timeless and personal element to the world of typography. With its versatile nature and organic flow, Mithic stands as a testament to the artistry of hand-scripted fonts, offering a unique and enchanting presence to any design endeavor.

Acústica is a display font family designed by Carlos Fabian Camargo G. Its styles were designed to form words and phrases related to delicate and feminine contexts. Acústica Caps, Italic, Swashes and Ornaments are drawn investigations with flexible tip pen inspired by Didot capitals. All ideal for mixing with Acústica Script whose idea represents the volatile sound of a fine tip brush against rapid tracing paper. Its script path in width condensed lowercase and uppercase letters in loose horizontal proportions are generous between letters laced with long, agile and thin connecting strokes. Its script sensitivity is in Italian calligraphy with uninterrupted lines of cursive English. Acústica was selected at the Bienal Tipos Latinos 2014. Photos by http://www.desdeesteladodemimundo.blogspot.com

Developed for screen For not the first time, Fontsmith was commissioned to develop a font for one of the UK’s terrestrial TV channels. The product was a clearly-defined three-weight family. When italics were added, it became FS Matthew, a clean, stylish, structured sans serif with swooping, open curves and a bright, lively personality. Southbank Inspiration for many of the forms of FS Matthew came from details found within the modernist buildings and architecture of London’s Southbank, such as the Royal Festival Hall. During the font’s gestation, Jason had found himself at London Studios, a TV studio on Southbank, and a wander around the neighbouring arts buildings proved thought-provoking. The result was a font with a very British character: solid forms that provide the platform for innovation and distinctiveness. Feelgood efficiency FS Matthew’s trademark is efficiency with a feelgood factor: disciplined enough for corporate identities, websites and signing systems, and colourful enough for logotypes and advertising. Its versatility and excellent legibility are achieved via some unexpected details: the reaching curves of the “g” and “y”; the simple shape of the “u”; an off-kilter “k”; generous counters; and a slightly condensed aspect that makes FS Matthew a space-saver in text or title sizes.

I like ‘magical’ fonts and it’s been a while since I created one, so here is Fairy Godmother. Hand made, cute and curly and full of magic!

Asvet Mono is a playful monospaced stencil that is bold and curvy. This cheerful TrueType Font has over 370 characters and it is legible in fine print.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.