It's the Summer of Love all over again with this groovy psychedelic font. Designed in 2019, this typeface harks back to the carefree days of the late 1960s. Whimsical and offbeat with its swaying verticals, it nonetheless remains one of the more legible reimaginings of the genre, sporting all of the handlettered vibe of posters and album covers from the original hippie era, but with polished color and weight that evens out the legibility even at relatively small point sizes. Predominantly a unicase font, with a couple of alternate glyphs from upper to lowercase, Summer of Love works best as a large headline face, and benefits greatly from twisting and morphing the type blocks as was common during the original psych era. It's a real groove machine, baby.

Montauk Pro is named after a small village in Suffolk County, New York on the South Shore of Long Island. It is the easternmost area in Long Island, and thus the easternmost area in New York State. It is home to Montauk Point State Park, site of the Montauk Point Lighthouse. It is named after the Montauk Indians. Montauk Pro is a casual, jaunty and quite beautiful handwriting script. It comes with six styles as light, light italic, regular, regular italic, bold and bold italic, each style with about 1.000 characters covering the complete Latin glyph set for West and East including Baltic and Turkish, including a large selection of ligatures, character combinations and alternates to make this beautiful script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7.

Mein Schatz's (in English: Darling) characteristic feature is the availability of ligatures in the expert set. The font offers – among others – the ligatures sh, sp, st, tz and alternatives for f, l and z. The expert set’s majuscules have curved elements in addition, thus allowing designers to put the typeface to highly individualistic use for displays and logos. Another feature of the font are the two different figure systems. Further to the normal table figures, Mein Schatz also offers old style figures, mainly for use in continuous text. Table figures as well as old style figures are available in all four cuts, i.e. regular, bold, italic and bolditalic. Furthermore designers will enjoy the additional curved ornaments. The curved ornaments and ligatures don’t only add a playful character to the typeface but also hence the name.

The superfamily Pepi and Rudi is based on playful experimentation with basic geometric shapes - the circle, rectangle and triangle - elements that laid the foundations for typographic Modernism. The Pepi and Rudi introduces a number of current elements into a time-proven concept of primitively constructed typefaces. The typeface's somewhat uniform character width establishes a more regular rhythm; the character set is expanded, and legibility is improved thanks to taller lowercase. A wide range of ten styles, from hairline-thin to extra-thick with adequate Italics allow for universal use across the whole scope of graphic design. Carefully designed diacritics, clear punctuation marks, table number characters, ligatures, arrows or alternative lowercase characters are standard; this is sure to please everyone needing to work effectively with a neutral, geometric headline typeface.

HS Aleman is a modern OpenType Arabic Typeface. It is a modern Kufi / Naskh hybrid and keeps the balance between its construction and its flexibility in the transition between the thick and thin parts and it also contains a harmonious smooth curve at its parts in all characters, numbers and marks. This font contains some extended characters (swash), some variants of some characters (Stylistic Set), which gives the user some flexibility in using some characters. The font weights are refined with enhanced legibility and are ideally suited to advertising, extended texts in magazines, newspapers, book and publishing, and creative industries, meeting the purposes of various designs. This typeface supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu variants and it is available in '''five weights: light, regular, medium, bold and black.

Mowaq es una tipografía limpia, abstracta, moderna, minimalista y de trazos sencillos pero elegantes. Sus cuatro pesos hacen un juego visual de degradados muy marcados. La tipografía Mowaq fue inspirada a partir de los estilos mayúsculas sans-serif, como uso de encabezados y subtítulos en dos libros donde se necesitaba mostrar un aspecto limpio, moderno y minimalista. Los tipos minúsculas fueron adaptados posteriormente a la familia Mowaq. Mowaq is a clean, abstract, modern, minimalist typeface with simple but elegant lines. Its four weights make a visual game of very marked gradients. The Mowaq typeface was inspired by sans-serif uppercase styles, used for headings and subheadings in two books where a clean, modern and minimalist look was needed. The lowercase types were later adapted to the Mowaq family.

Your Favorite Pencil Latin + Cyrillic Your Favorite Pencil is a cute handwritten font with Cyrillic support. It is perfect for branding, wedding invitations, menu design, YouTube covers and many more Font includes a full set of gorgeous uppercase and lowercase letters, numbers, a large selection of punctuation marks & Cyrillic support Твой Любимый Карандаш - это милый рукописный шрифт с поддержкой кириллицы. Он идеально подходит для брендинга, свадебных приглашений, дизайна меню, обложек YouTube и многого другого Шрифт включает в себя полный набор великолепных прописных и строчных букв, цифр, большой выбор знаков препинания и поддерживает кириллицу Test it out below to see how it could look for your next project! Includes: Regular Script Latin languages support Cyrillic languages support Uppercase and lowercase Numbers and punctuation Check out my blog: https://www.instagram.com/superdizigner https://pinterest.com/dmitriychirkov7

This font is created with original hand drawn strokes for a relaxed, beautiful and elegant impression. This font also offers beautiful abstract typographic harmony for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, promotional banners, posts, posters, signatures, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. We hope you enjoy this font.Feel free to send whatever message you want to convey.Thank you Regards

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor. Thirteen years later, FontHaus came across another little known typeface treasure: Diane. Designed by the legendary French designer Roger Excoffon in 1956, this remarkable script has never been faithfully recreated until now. In close collaboration with Mark Simonson, FontHaus and Mr. Simonson painstakingly researched rare type books, publications, European metal type services, and period showings from the United States, England, Germany and from the University of Groningen in the Netherlands. Finding full specimens of the font turned out to be quite a challenge. In most cases, only the caps and lowercase were shown. Furthermore, the more we researched Diane, many curious facts came to light. The caps in earlier specimens of Diane are completely different from specimens published later, suggesting that the face was redesigned at some point, perhaps in the mid-1960s. So we are left with two different sets of caps. The original had very elaborate, swirly strokes, very characteristic of Excoffon¹s gestural designs for posters and logos. Later on, these appear to have been replaced by a set of simpler, more traditional script caps. The original caps are criticized in one source Mark found (Practical Handbook on Display Typefaces, 1959) as being "exquisite" but "not highly legible". Perhaps this is what led to the simpler caps being introduced. Nevertheless, FontHaus's release includes not only both sets of caps, but a range of alternates and a number of new characters not originally available such as the Euro, and a magnificent alternate Ampersand to name a few.

Defense is an unyielding rectangular slab-serif stencil face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. The stencil mark width varies accordingly with each weight, helping to further define each style. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Defense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ™, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

With deliberately tight kerning, Lurline wears its retro vibe as a badge of honour. Lurline features extreme reverse contrast and stroke modulation and intentionally pushes legibility boundaries. Suitable for anything requiring a strident and flamboyant tone of voice.

Carefully considered letters written long-hand, sealed in an envelope and sent across continents were once the only connection for distant friends and lovers. Dear Sarah is a type that evokes the emotion of those handwritten messages. Using alternates, ligatures and a complex system for randomization and natural connected characters, Dear Sarah seeks to push the boundaries of digital type. The guiding question that drove the design of Dear Sarah was whether it was possible to create a natural looking script that worked well in running text. Hand-written types often work for two or three words, but as soon you you look at them in a paragraph, their unnatural textures make them feel contrived. As one of the first serious types to explore OpenType for a connected script, Dear Sarah uses a unique system to create natural connections. Often script types rely on one connecting point to make sure that all their characters fit together properly. Characters that naturally connect much higher, such as the ‘o’ or ‘v’ are distorted to connect at the same point as an ‘a’ or a ‘c’. Dear Sarah uses multiple sets of lower-case characters to connect at multiple points, creating a much more natural looking script. OpenType is also used to create variety, by using randomization techniques to insert disconnected characters as well as alternates, ligatures, swashes and ink blots to create a natural rhythm across multiple lines.

American Christmas is a funky and decorative season's typeface. As a cozy winter script, it brings a festive touch to every word, with letters that seem to dance joyously across the page. Its bold flow is reminiscent of retro holiday signage, evoking a sense of nostalgia and warmth. This typeface is adorned with stars that twinkle like lights on a tree, adding a sparkle to your seasonal greetings. This typeface family is provided in three starry versions and one clean, and also comes with an extra symbol font for beautiful Xmas icons. Use parenthesis symbols () [] {} to make stars around any word. Example: {Xmas}[Songs] Use underscore _ after any word to make a swash. Example: Santa_ Multiple underscores make longer tails. Example: Yuletide____ The font is built with advanced OpenType functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. With American Christmas, Mans Greback has crafted a typeface that captures the essence of the holiday spirit. Each character is designed to convey the excitement and heartfelt connection of the season, making it an ideal choice for those moments when you want your message to be wrapped in the warmth of the holidays.

Rothek is a geometric sans serif type family with a strong and unique character. It comes in 22 weights — 11 uprights and 11 italics — and is a perfect tool for any designer who needs a versatile font for a variety of projects. While retaining its uniqueness and whimsicality, Rothek is highly legible even at smaller weights, which makes it a perfect fit for app and web design. But what’s really great about Rothek is its OpenType features, which make it really stand out. Not only does it know how to do fractions, but it also does subscript and superscript; it’s equipped with case-sensitive punctuation, which adjusts the height of your parentheses, hyphens (and many more) to the height of your capital letters. But there’s still more: Rothek is loaded with various figures — from default proportional numerals to oldstyle figures, tabular figures and tabular old style figures. Throw in a bunch of stylistic alternates and you’ve got a perfect typeface for any project. Rothek supports all European languages and Vietnamese. On top of that there’s Extended Cyrillic set for most Slavic languages. As a cherry on top, there are stylistic alternatives for selected glyphs both in Latin and Cyrillic layouts and lots of extra symbols to work and experiment with. With 900+ glyphs in each style, Rothek is a perfect workhorse font for those who need a modern sans serif font with a strong character. Two weights are free to try and use!

When Patricia Lillie was growing up, she thought the coolest thing in the world would be finding her own name listed in a library catalog. The fantasy came true in 1986 when her first children's book was published. Five more followed. The thrill of seeing her work on library shelves hasn't abated, but today, Lillie is just as likely to see one of her typefaces on the cover of a book. She has created several display faces and image fonts. My first typeface designs were based on lettering I'd done while working for a library, doing graphics work for the children's section," she explains. "I currently do a lot of web design, but type is my favorite thing." The Tickles (ITC Tickle and ITC Tickle Too) are Lillie's first ITC typeface releases. "I was playing around with a Sharpie marker one day and liked the way the letters looked," she recalls. "I started redoing the letters from scratch in Fontographer to see what developed, and liked those letters too." ITC Tickle is a bi-form font (with both cap and lowercase letters of the same size) that clearly breaks a typographic rule or two. ITC Tickle Too has the same basic lettershapes, but they've grown clusters of stipples that give a three-dimensional quality to the design. The result is a friendly, offbeat display family that's guaranteed to add a giggle to your work."

Fibra One looks like a “soft” version of the Fibra font, but it is actually more than that—the second part of its name suggests that it is a reinterpretation of the original typeface. While this new version maintains the overall structure of Fibra and influence of the Avant Garde font, its shapes are different from those found in its predecessor—Fibra One features both soft corners and smooth transition between curved and straight sections. This gives the font a more dynamic and playful personality. Fibra One keeps the original contrast between curves and straight lines in glyphs such as ’n’ and ‘h’ (not found in rounded glyphs such as ‘a’ and ‘d’); details of display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra One a strong personality—a typeface that ‘gives you the chills’. Fibra One was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra One comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.

Introducing Patihan Variable, a variant that makes it easy for you to access fonts with sharp, strong, bold characters. Patihan Variable is a combination of three different styles – Sans, Slab, and Serif – which are united into 2 Axes weight axes and serif axes, where weight axes have instances: Thin, Extra Light, Light, Regular, Medium, Semibold, Bold , Extrabold, and Black. This font has beautiful Ligature and Stylistic Alternate settings, Patihan font is also equipped with the Smallcaps feature which gives more control over typography, allowing you to create elegant and unique typography. The sans version of this typeface is versatile and easy to read, with a minimalist but impactful aesthetic. The Slab version is characterized by its solid and powerful strokes, while the Serif style has that extra classic flair with elegant curves and a stark contrast to the look. Patihan Variable is optimized to make it easier to access each variation, all you have to do is slide the slide in the software, and then you can access the style you want. Without sacrificing easy readability, this makes it a great choice for headlines, titles, and any long-form content. Ligature settings and discretionary styling add an extra layer of sophistication, making this font a great choice for magazines, branding and advertising. Overall, this font is a great choice for those looking to make a lasting impression. Its versatility, readability and unique features make it an excellent choice for any project.

Recherche means “studied refinement or elegance” and suits this typeface perfectly. Based on italic, calligraphic letterforms, its long, arking verticals and oval counters convey airy sophistication. Recherche is packed with swashy alternates, making it easy to create unique settings and wordmarks for menus, wine labels, wedding invitations, and more. It includes a full set of swash capital letters and 89 lowercase swashes. See what’s included! http://bit.ly/2bUYhqk *NOTE* Basic versions DO NOT include swashes, alternates or ornaments This font has 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/

Johann Neudörffer the Elder's 1538 writing manual fascinated the German designer Helmut Bomm for years. Together with Albrecht Dürer and Hieronymus Andreä, Neudörffer helped create Fraktur, perhaps the most Germanic of all the blackletter styles. As a tribute to this master, and bringing its letterforms to a 21st century public, Boom released the Neudoerffer Fraktur family through Linotype in 2009. Neudoerffer Fraktur's appearance is based very much in handwriting, and Bomm had already begun using letters from prototype versions of this typeface as early as the 1990s. For years, Neudoerffer Fraktur'sletters would appear secretly and seductively in design projects like historical sign restorations or heraldry pieces. The sources that Bomm used while drawing the typeface were images from Jan Tschichold's Treasures of Calligraphy" and Albert Kapr's "Schriftkunst." The Neudoerffer Fraktur family has four separate fonts. Any user of Adobe CS applications should consider licensing Neudoerffer Fraktur Regular (the font without any numeral suffixes). This font contains three different OpenType stylistic sets. Users can pick and choose which versions of the letters that they would like to set. Anyone using Quark XPress, Microsoft Word, or other applications without support for Stylistic Sets should license Neudoeffer Fraktur Regular 1, Neudoeffer Fraktur Regular 2, and Neudoeffer Fraktur Regular 3. Each of these three fonts has letters with slightly different style of flourish, and all three may be combined with each other. Neudoerffer Fraktur Regular 1 is optimal for longer texts; Neudoerffer Fraktur Regular 2 contains alternate letters, and well as more ornamented capitals; Neudoerffer Fraktur Regular 3's letters have a stronger calligraphic accent."

Vulpa is a charming serif family in regular, italic and bold, informed by the proportions of a personal favorite, Plantin. The quirky foxtail terminals (inspired in part by my script font, Gelato Script) can be seen across all three styles. These little details make the typeface very expressive at display sizes, but practically disappear at text sizes, making for a very versatile face. Across the three styles there are a number of useful OpenType features which make Vulpa capable of demanding typographic work, even though there are only three styles. Regular, italic and bold are all you really need anyway! The regular and bold weights both include small caps, and the italic features swash capitals for most letters. The italic also features quaint discretionary ligatures, and all styles include standard ligatures, automatic fractions, proportional and tabular, lining and oldstyle figures. If this isn't enough, the Vulpa family also includes Ornaments and Drop-Cap fonts. There is an ornament for A to B, a to b and 0 to 9. These have been carefully designed to match the feel of the text fonts, and many are influenced by ornaments and fleurons from the ATF 1912 Type Specimen book. The drop-caps have an engraved look, and two color versions can be made by overlaying upper and lower case. Despite the lack of weights compared to ‘workhorse’ faces, the charm and versatility of Vulpa make it a really useful typeface, that I hope you'll enjoy using as much as I enjoyed making.

German graphic designer Ralf Weissmantel created Boogie in 2003. Boogie is an ironic reference to pop art, and to disco lettering from the 1960s and 70s. Its round forms and outlines evoke the flashing, pulsating lights and music of that era. Shipping with five different, width-compatible fonts, the Boogie typeface has four different components: an outlined letterform is the base element, and forms the first font. Three additional fonts may be layered over top of this base, surrounding the first font with up to three bubble-outlines. In graphics applications like Adobe PhotoShop or Illustrator, these elements can each be assigned different colors. There is also a fifth font, which contains the base outlined letterform pre-surrounded by three additional outlines of the same color. Boogie works best in large headline, display and signage applications, where its forms can be clearly seen and enjoyed. When different colored layers are applied, text set in Boogie will gyrate and jive across the page! Weissmantel has worked as an art director for various international advertising agencies, and has led Corporate Design projects for firms such as Grey and MetaDesign. His design work, honored internationally, has been included in the typography collection of the Museum for Art and Trade in Hamburg. He is currently teaching graphic design at the Düsseldorf University of Applied Sciences. Weissmantel has been an associate of the United Designers Network since August 2002. Boogie received an Honorable Mention in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

Christmas cookies have already slowly crept onto your local supermarket's shelves -- the Linotype Xmas Fonts just can't wait any longer! Ravishingly friendly and universally applicable: Fuenfwerken -- a design studio from Wiesbaden, Germany -- is proud to present its latest Fun Font Family. Bringing variety to the dry Christmas card genre, these fonts can also be used on posters to spread holiday cheer at home. No limits are placed on your creativity here! The family has three different fonts, each with more than 60 symbols inside: Xmas Story includes the whole figure palette necessary for a classical Christmas story. From a cute little Baby Jesus to the Three Wise Men and woolly Aramaic sheep and everything that one needs to add special flair to a letter to grandma, or to set up a Nativity Scene at home for the kids is included. Customers who aren't searching for a biblical font should check out Xmas Essentials. This font contains typical non-denominational end-of-the-year holiday ornaments, such as snowflakes, decorated Christmas trees, nutcrackers, and stars. Last but not least is the Xmas Modern font. Just as global warming poses severe risks to snowmen, this font will make recipients of your holiday and New Year's cards melt. Glyphs such as Santa Claus riding on a Vespa -- complete with iPod -- speed away from normal, stuffy holiday seriousness, and signal that the Fun Generation has arrived! The best choice, of course, is to treat yourself to all three fonts this Christmas. Then you'll be prepared for every situation. Happy Holidays!

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

Erik Spiekermann, working in collaboration with Ole Schäfer, originally designed FF Info® Display for use in the context of wayfinding systems. The variants FF Info™ Text and FF Info™ Correspondence were developed later for text setting and office communication. FF Info Display The sober and clear forms of the sans serif FF Info Display have been deliberately molded to make them perfect for use on wayfinding systems. The font by Ole Schäfer and Erik Spiekermann not only takes the problem of lack of space into account - it is some 15% narrower than comparable typefaces - the characters have also been designed to ensure they remain legible even in adverse conditions for reading. As text on signs often contains words with which readers are unfamiliar and which are thus deciphered letter for letter rather than perceived as whole words, it is essential to provide for a clear differentiation between glyphs. Additional serifs on the lowercase "i" and uppercase "I" and a small arch on the terminal of the lowercase "l" ensure that it is possible to readily discriminate between these particularly problematic letters. Moreover, sharp corners on glyphs can also make it difficult to read signs with backlighting or when driving past. The rounded corners of FF Info Display counteract this effect and make sure that the character forms remain well defined.FF Info Display is available in five carefully coordinated weights, from Regular to Bold. In the corresponding italic variants, the letters appear overall more rounded while the lowercase "a" has a closed form and the "f" has a descender. Also included among the glyphs of FF Info Display are several ligatures and arrow symbols. Pictograms with different themes that complement the typeface are also available in four weights. FF Info Text Thanks to his know-how gained through designing other typefaces, Erik Spiekermann became aware that fonts created for use in problematic environments can be used in many different situations. In smaller point sizes, FF Info Display cuts a fine figure when used to set longer texts. So Spiekermann carefully reworked FF Info Display to produce FF Info Text, a font perfected for use in this context. Not only can the characters be more generously proportioned, certain features, such as additional serifs to aid with the differentiation of problematic letters, are also no longer necessary in textual surroundings. The upright styles have a double-story "g" while Spiekermann has added oldstyle figures and small caps. FF Info Correspondence FF Info Correspondence has also been designed for setting block text although it recalls the style of old typewriter characters and is specifically intended for use in office communication. The characters of this third member of the family are thus more formal, without rounded terminals but with rectangular punctuation marks. The narrower letters are provided with large serifs to give them more space although, at the same time, this reduces the differences in terms of letter width among the alphabet. In contrast with its two siblings, FF Info Correspondence has only three weights, each with corresponding italic.The three styles of the FF Info super family cover an extensive range of potential applications. If the different kerning is adjusted manually, the three styles harmonize happily with each other and can be readily used in combination to set, for example, headlines and texts and also creative display options.

A serif font with shadow - done with a steady, but yet shaky hand. Make some catchy headlines with Tied To A Stick. Throw in some different colors for the stroke, the letters and the shadow and make it really look like something homemade! I would use this font for for my next handmade craft project - and I advice you to do the same! :) Comes with ligatures which substitutes double letters!

The original source of design for Sign Sans JNL was an image online of an old New York drinking establishment called the Lenox Lounge. The metal channels encasing the neon had an unusual "feel" to some of the letters. While the original E,G and U of the sign looked "interesting", they didn't quite fit the font's layout. Those letters were scrapped for more traditional versions of them.

Corton was inspired by the traditional lettering on a gravestone in an English village. While that might sound a rather solemn beginning, Corton has wonderfully lively air, with distinctive lively serifs and beautifully swashed downstrokes. Eight faces are offered: regular and titular each in three weights plus regular condensed. Between them they are ideal signage and display faces, merging 'olde-worlde' charm and fun character, but remaining clear and legible.

Aguellera is an elegant font with a romantic appeal; this font is for those who are in need of an elegant and appropriately modern calligraphy script. Aguellera will turn any creative idea into a true piece of art! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Porker was an experiment in making a barely readable but very simple and very bold typeface with no curves. It is caps only with some of the letters on the lower-case keys giving alternate versions. Include are three variants, a tall version, a striped version, and a randomized version. The striped version can be placed in a layer above the regular version to give two-colored letters.

Kuunari Rounded is the rounded version of Kuunari. it is a structured square sans type family of 42 fonts. It has three widths and seven weights in both upright and italic versions. The base form is a round-cornered rectangle, and this form constructs the glyphs throughout the fonts. Kuunari Rounded is a straightforward sans serif. It doesn't make any fuss about itself; it just does the job proudly and confidently.

Wild Creatures is a bold brush font, in three variations: regular, jumpy and jumpier. The jumpy and jumpier versions of the font include contextual alternates OpenType feature to give the font a bouncy and bouncier baseline. Wild Creatures also includes an all caps feature and a swash dingbat font, perfect to decorate your lettering designs. Use Wild Creatures in all your modern designs, such as quotes, branding, postcards.

Bold and angular. SbB Powertrain's glyphs are constructed from simple shapes. All straight edges and lots of right angles, but surprisingly friendly. A wide range of weights and widths make Powertrain perfect for branding projects, posters, logos or any project where you need maximum flexibility. Ten weights and five widths Small caps Stylistic alternatives Opentype figure styles Complete version includes a variable typeface with three axes: weight, width and slant.

Norfolk is a vintage-inspired font based on the styles found on packaging from the early 1900's. It evokes a genuine and timelessly crafted look from this period. Three styles are included in this family: Fill, Inline and Outline. The styles can be used together or layered to create a variety of vintage looks for any project. Norfolk works well as a header or title for branding, packaging or publications.

Kinemon is a font that has modern minimalist looks but still has an uniqueness on it. Look at the letters, each letter has their own characteristic. Firm, clean and modern. Kinemon perfectly use for a magazine, book, headline or even a poster. We have three styles that can cover your needs. We hope and be honored if Kinemon can be the part of your special moment. Thank you! :)

JetJaneMono is a large family of sans-serif faces which are monospaced. It is very plain (plain=plane=jet). The font family has two widths and three weights, with each upright style paired with an italics style. These twelve fonts are then duplicated with another set in which small caps replace the lower-case letters. The typeface was created in 1994 and in 2021 the condensed widths were added.

Ripley is a handwritten fully connected script with ligatures and contextual alternates to help with flow and readability. Every lowercase letter has three variations. When the font is used in OpenType-savvy applications, the 3 variants of glyphs are automatically alternated to achieve a random-like effect. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages. Ripley's design is inspired by Neonoir.

Quartan is an industrial, unicase sans serif family, with three weights. The Austrian designer Maria Martina Schmitt developed this series of typefaces for designers to use when setting chunks of text en masse. Being a unicase design, Quartan¿s letterforms have no ascenders or descenders; lines of text may be stacked virtually on top of one other. This offers a multitude of possibilities for headline, logo, or corporate identity design.