Caterina, was selected personally by Francis Ford Coppola for the film he produced called The Legend of Suriyothai. It's not the credits, but text placed in the center of the screen to introduce information about the setting, the characters, and so on. Something like chapter headings in a book, or the text in silent movies.

Neutral and universal are two words that could describe a kind of perfection. The search for neutrality and universality is part of history in type design; it was specially important in the so-called Swiss Style. Samplex is a typeface that joins this particular search. The design gets rid of unnecessary elements and stays away from style conflicts. The large and slightly condensed body of lowercase letters makes Samplex a good choice for long paragraphs, and especially appropriate for screen devices. Letters with a blocky appearance give shape to a text in perfect order, ideal for grid lovers and layouts with a strict structure. The design of Samplex is clean and efficient. The diagonal cuts are reserved to the italic letterforms, setting some distance between the solid upright characters and the dynamic oblique forms.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

This font is a late 19th Century French script overview inspired by numerous French letters, from around years 1850-1860, during the second French empire, under Napoleon the third. Most of them were written with very tiny characters on light sheets of paper, as postage prices were calculated from the letter's weight. The TTF and OTF versions are enriched with more than 50 ligatures and/or alternate characters. We also offer a choice of two sorts of Capitals. Why "1859 Solferino"? It was the last battle of the Italian independence war, opposing the victorious Franco-Italian army to Austria in June 24, 1859. The Red Cross was inspired directly from the carnage remaining on the battle field.

This font was inspired by one of a standard French manual styles in use from the beginning of 1900s to the end of World War II, when people were writing most often with pen holders and metal nibs. This typeface is easily legible as it was used for the lithographic printing of university textbooks. All lower cases from a to z and numerals from 0 to 9 are doubled by a slightly different one to allow a varying manual aspect in texts. We have added a lot of diacritic characters, covering West (including Celtic) and North European, Icelandic, Baltic, Eastern European and Turkish language. A few special glyphs allows to make final loops or underlining.

Duct tape is one of the most versatile adhesive materials known today. From fixing the bumper of your car that keeps falling off, to creating a sturdy wallet. From alternative wrapping to sticking a friend to the wall, Duct tape is there. And it will stay there. It will stick to anything and hold for a very darn long time too! The cloth-backed tape was invented some time during World War II, and also proved itself useful as a base material for lettering. VLNL Duct was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT. DBXL imagined an owner taping the name on the window of his shop using Duct tape. The font was used for all communication of the restaurant. Duct is a sturdy, rough all-caps typeface that will stick to anything.

Grafista is an extrapolation on what fonts are used for: in spite of the possibility to use it for setting text, Grafista strives when used as a texture library, the same way that one would set up tiles. Thus, Grafista was built as two different things compiled in the same font: the letterforms (for setting text) and the texture library. Both of the sets are monospaced (with every glyph having the same width), but the letterforms are half of the texture tiles' width. On the tech side, the letterforms are 500/1000 UPMs, while the tiles are 1000/1000 UPMs.

Introduce Berliona is a beautiful handwritten font with a touch of love. The Berliona is perfect for branding projects, home appliance design, product packaging, use in business cards, invitation cards, etc. Simply as a stylish text overlay onto a background image or anything else that needs a touch of elegance. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. There are additional ways to swash, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all the alternate characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use the font style set in Microsoft Word 2010 or later: https://youtu.be/x1A_ilsBsGs Thanks for checking! I really hope you enjoy it. Regards TM Type.

Introduce! Guttever is a beautiful handwritten font with a touch of love. Packed with 351 glyphs, it's perfect for branding projects, homewares design, product packaging, use in business cards, invitation cards, etc. Simply as a stylish text overlay onto a background image or anything else that needs a touch of elegance. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. There are additional ways to swash, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all the alternate characters using Adobe Illustrator: How to use the font style set in Microsoft Word 2010 or later: Thanks for checking! I really hope you enjoy it. Regards

Bielik was created for a comic book that I’m working on. Main goal was to achieve random character of texts, so I made three glyphs for every letter, even for diacritics. Firstly I was drawing using brush pen with ink, so thickness of letters was really various. I decided to implement this style into a font. So that is how Bielik came into the world. This is good choice for comic books, children books, display designs and much more. Bielik is a polish word for Haliaeetus albicilla.

Rubber B is a heavy display typeface with very tight open counters & character spacing and non-existent closed counters. It is an amalgam of styles and influences that demands attention. It is comparable with the highly geometric experimental fonts of the '90s and early '00s, but also heavily inspired by decorative fonts of the '60s and the psychedelic poster art of the '70s. Bold and loud, yet delicate, almost calligraphic in some cases. It works with Latin & Extended Latin, Cyrillic & Extended Cyrillic and Greek. It comes with 1,500+ glyphs, with more than half of them being ligatures. It also contains several Stylistic Alternates as well as Localised forms (available through the Open Type Features and also as ligatures). All these features are available in order to not only make sure that it works with as many languages as possible, but also that depending on the specific glyph or ligature one chooses to use, they have the ability to alter the emotional character of the word(s) they’re setting. Ideal for titles and logos, as it works best in medium and large sizes.

Don't you HATE it when this happens? You're protesting the war in Iraq, and the other protesters keep pointing at you and giggling. You can't figure out what they could possibly be laughing at...You look up and then it hits you: you're holding a sign that looks like it was made by your 5-year old kid brother. It's sloppy, the words are crooked, hell, it's BARELY READABLE. How is anyone ever going to take you seriously with THAT SIGN???? There's only one solution...To further your cause, you need Burghal Design's Peace font. Peace contains upper and lower letters, numbers, punctuation, even foreign accented characters! Clean, concise, and oh, SO legible, you'll have no problem getting your message across with this typeface. Who knows, you might even make the evening news.

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

The Social Networking Icons font family has been designed to simplify the process of routinely loading and pasting social icons around, for both print and on the web – reducing server load and saving time. They are great for embedding in webpages or for use on product packaging, posters, flyers and other marketing materials. Comes with a PDF guide and an interactive symbol sheet with labelled icons for reference. v4.0 Is out now with multiple improvements and updates on most icons.

After the success of our best-selling Mr Black, we decided to once more use my grandfather’s dry transfer lettering sheets. My grandfather was a Polish military cartographer and he left us some used-up sheets. The letters didn't transfer so well but we liked the way they were damaged. Mr Tiger has upper- and lowercase characters with up to four alternate glyphs. First three variations are only slightly damaged but the fourth one is usually more distorted. All of the glyphs have a very high resolution so they can be used in a large scale and they will still look great. One of the best things in Mr Tiger is the OpenType Contextual Alternates feature. It will automatically set alternate glyphs depending on frequency of appearance of the same character. The script doesn’t throw random glyphs. For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand.

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

An interesting, unusual and righteously funky variation on the classic “Barnum” style of lettering, this typeface was originally named "Dado". As any woodworker knows, dado is also the name of a slot ploughed, chiseled or cut in wood: in other words, a groove thang. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

During the early years of the 20th Century, America's fascination with automobiles was just beginning. The cover for a 1916 piece of sheet music for the comedy song "On the Old Back Seat of the Henry Ford" had the title hand lettered by a round nib pen in an Art Nouveau style. This is now available digitally as Running Board JNL.

The designers of wood type in the 1880s did not lack for inspiration or imagination. From extremely ornate designs to ultra compressed or condensed alphabets, there was no shortage of variety. Saddle Tramp JNL is one such compressed font. Its wide, bold design coupled with its squat appearance allows for multiple words in a headline without overuse of page space.

Finally an animated alphabet with a tall tale to tell -- perfectly suited to putting words in the mouths of mutts, talking tigers and anthropomorphic animal characters of all kinds. The precise thick and thin pen strokes of these eight versatile weights are well suited to gag strips, classic cartoons and maybe even that internet meme you've been thinking about for weeks!

Monem is the word for the smallest significance-carrying part of a language. I thought that was a good name for a clean, straightforward Sans typeface. Monem is very sturdy and usable for lots of occasions. I am using this font myself for those of my clients that want to convey a clean unobtrusive image. Your very restrained Gert Wiescher

Uplink is decorative upright lettering with heavy calligraphic influences and clear friendly forms. Alternate forms with artificial "tail" connections, swashing their way from one letter across the vertical stroke of the next, add an unusual yet distinctly human detail to the forms that shape the words. Uplink's reserved humor can be a little tolerant of mechanical abuses like shearing or stretching, which makes it ideal for food product packaging design.

Lateman is a casual font built with apps. with freestyle and natural make this font look friendly to the project you are working on. Lateman only consists of uppercase letters, but if it collaborates with other fonts, it will feel more striking like the preview example above. This font was created for superhero movie titles and is perfect for movie titles, superheroes, action, animation, war, and more. You can see the sample preview above for comparison, stay the center of attention and classy!

INSPIRED BY THE LOVERS OF LETTERS AND ANCIENT ANIMATED DRAWINGS: We present one of our most desired typographical tools of 2019: NUTCAKE CATCH-WORDS! Designed and produced by #carlosfabiancg and #a_freitez at different times and places in Venezuela and Colombia. Each word design was like “travel to the old school of hand lettering of 1930” due to the number of options and alternatives we discarded to solidify meticulous researches and Bezier drawings, based on analysis and synthesis of empty and full calligraphy, first done with a round brush and then perfected with pencil and paper. For this reason, each NUTCAKE CATCH-WORDS design contains a high dose of cursive expressiveness, apparently handwritten, and that is why our customers can take advantage of more than 160 words compiled in a single OTF file. NOTE: if you need any new word with the NUTCAKE CATCH-WORDS style, please write us and we will gladly design it to include it in your file. Below the list of 160 catch words: and, An, All, As, After, Ante, Avec, Break, Bright, Big, Back, Both, Best, Body, Butter, Breakfast, By, Bajo, Coffe, Café, Closet, Can, Cocktail, Cookies, Custom, Cabe, Con, Contra, Could, Crisp, Candy, City, Chocolate, Chocolat, Come, Del, Don't, Deliver, Desde, Di, Durante, Enjoy, Eat, Example, El, En, Entre, Front, Fire, Free, Fashion, For, Fresh, Friday, Family, Going, Great, Go, Heres, Here, Hand, Hacia, Hasta, Have, I'm, It’s, Imagine, It, Join, Just, Jam, Kitchen, Kiss, Know, Keep, Like, Life, Lady, La, Las, Les, Los, Le, Love, Money, More, Master, My, Mediante, Now, now, New, new, next, nuevo, nueva, Off, out, ofertas, oferta, offer, offers, Please, Para, Per, Page, Quality, Queen, Question, Valley, Queso, Right, Road, Save, See, Show, Something, So, Según, Sin, So, Sobre, Sale, Shop, Style, Styles, Sweet, Special, To, the, The, Theres, There, To, This, Three, They, That, Tras, Think, Time, Take, Transfer, Until, Vacation, Value, Vote, What, Hats, With, Welcome, Which, You, Y, You're, you, Zip, Zoom, Zombie.

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. Imagination and variety of shapes, which so far have been reserved only to the fine arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery - they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the first time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the flaps and in the imprint lines. Bold upper-case letters in the first line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque title-page could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book - a typographical manual. Among these manuals the one published by Fournier stands out - also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words - Baroque typography deserves anything else but the attribute "transitional". In the first half of the 18th century, besides persons whose names are prominent and well-known up to the present, as was Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our firm principle. Does it mean, therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is child's play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a fixed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in today's modern type designer's nihilism.

Linotype Mega is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The fun schrift of German designer Till F. Teenck is available in three weights whose names are word plays in themselves. Mega in (which we hope the font will be) contains relatively light, somewhat irregularly-drawn characters which look as though they were printed by hand and the characters are set rather far apart from each other. This weight is good for short and middle length texts in point sizes of 10 and larger. Mega normal is anything but. The characters are the outline forms of Mega in and their larger width reduces the distance between them. This weight is generally a headline font. Mega out is a very heavy weight and is the filled-in version of Mega normal. The characters flow into each other and look almost like silhouettes. The reduced legibility makes this font suitable exclusively for headlines in larger point sizes.

Hi. Introducing a new version of my one of the most popular fonts. Now Humblest Pro includes much more characters and has west european multilingual support. This font has a smooth and clean shape without any grain unlike the original one. Almost all of the capital leters has two version, for the begining and for the ending of the word. The final alternative letter will be automatically replaced if you type a big last letter in the word (check out if the "contextual alternates" opentype feature is activated). Decorative swashes are now a part of the font. To use this decorative lines just type an underscore character and the corresponding number from _00 to _39 (make sure that “standard ligatures” opentype feature is activated). Also a lot of ligatures for small letters are available, please check out the previews with all available glyphs. Thank you and have fun!

Introducing Hoax – a pre-worn sans serif with spirit, personality and distinction. This bold and semi-condensed sans serif is inspired by old copy machines and vintage prints. It is lively and eye-catching, ideal for where and when you want to make a lasting impression. Hoax is a celebration of character, a tribute to curiosity. Use this typeface and let everyone know that you mean business. OPENTYPE FEATURES: This font includes over 40 discretionary ligatures of prepositions and common words in English. These OpenType features can be accessed using OpenType friendly applications that allow the use of discretionary ligatures and stylistic sets. MULTILINGUAL SUPPORT: With over 700 glyphs, it has support for more than 150 languages, including Cyrillic script. List of discretionary ligatures: AND, ARE, AT, BY, FOR, EST, FEAT., FROM, IN, IS, OF, ON, OR, OUR, THAN, THAT, THE, TO, WITH, YOUR, CO. Each word is available in both upright and slanted versions. How to use: Activate the discretionary ligatures as you normally do in your OpenType friendly application. When activated, the words are in upright versions. To access the slanted versions, activate the first stylistic set (“Slanted Ligatures”). Happy typing!

Demetria is a font created in 2012 by Carlos Fabián Camargo and works to form words and headlines with medieval expressiveness. Thus his concept mix uncial, Roman and italic letters resulting serifs some here and there, extended width and high amount of contrast between thick and thin strokes. That way its vigorous ups and downs are higher than its “x” height, highlighting it as a font with regular caliber,outstanding to design headlines with strong proportions and texture. Consequently, typographic and aesthetic possibilities of Demetria are visually appealing by its chaotic forms that are embedded and remain fixed in the minds of its viewers; also, “Demetria Pro” has OpenType features such as “Swash”, “Titling”, “Discretionary Ligatures”, “Standard Ligatures”, Ordinals, Fractions and Superscript that make shine what is written by their abstract shapes resembling elongated paths of black ink diluted in water. This font also works in software without opentype features, so it is recommended to use the remaining files NON-PRO. In short, the expressiveness and mysticism of Demetria is reaffirmed with some capital letters with lower height designed to be interchangeable with similar metrics to lowercase but aesthetically different.Thus the font mimics strong imperfections and splashes that get slim or grow depending on their degree of spontaneity. In that sense Demetria is recommended to compose words, phrases and typographic textures in graphic design projects related to epic, historical or legendary matters.

@andinistas presents Rapsodia, an uncommon roman caps font with serif and high contrast, designed by #carlosfabiancg. Rapsodia was inspired by Stunt Roman, Speedball Textbook for Pen & Brush Lettering by Ross F. George. Rapsodia has a high and sweetened amount of contrast between thin and thick with drop-shaped finishes, reminiscent of Didot, Baskerville and Bodoni. Its artistic accent translates into Tuscan letters drawn with a flexible tip pen. In that order, Rapsodia combines the visual theatricality of an art nouveau corset, with creative historical classics such as Liza Minnelli, Gene Simmons and Freddie Mercury. Its calligraphic curlers full of Mannerist virtuosity are unnatural in Roman caps typefaces with serif. That is why its internal vein in ascending and descending flourishes protrudes with Chicano circus details like triangular diamonds located in vertical strokes. Rapsodia serves to design words and phrases in fine publications, for this reason most of its upper and lower case letters communicate feelings with classic and luxurious sensation through substitutes, ligatures and alternatives for beginning, middle or end of word, functioning as initials and terminals.

Introducing the new "Holidream" font, a monoline script font. For those of you who are needing a touch of clean monoline handwritten Font, chic and modernity for your designs, this font was created for you! Holidream was built with beautiful alternate ending. and It has an extensive lingual support, covering all European Latin scripts. What's Included: Web Fonts Ligature & Alternate 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. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portugese, Slovak, Slovenian, Spanisch, Swedish.

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

Eternal Ego is a blackletter font with a unique and different style, with a touch of vintage design will create a unique design. Eternal Ego Perfect for for many creative products such as logos, tattoo design, t-shirt prints, street wear, headlines, tattoo lettering, calligraphy, clothing brands, music, sports, labels and much more. What's Included : Standard glyphs Ligature 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. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only.

My name is Teruyoshi Matsui. I live in Japan. I am a Brush Artist. I artistically write the letters of the alphabet with a Japanese brush. I have created the font “ BrushType Longhand”. It was originally named "BrushType Alternative". But I changed my mind before it was completed. At first I aimed at an alternative font. But while I was trying to make it alternative, I realized that it was not. Of course there are many alternative letters that you have never seen before among them, so you have to be careful using the font. If you are a progressive and defiant designer trying to discriminate against others' designs, you should own my font "BrushType Longhand". Be ambitious! This is the word I will give you. I am ambitious ,too. No one in the world creates brush fonts like me. I am the only one as a Brush Artist though no one knows. I will be a world artist some day. So you should buy the font that is one of my favorite works. Thank you.

The design of Bramber was inspired by Allied propaganda posters of the second World war, especially Russian posters. It has a distinctive solid, geometric appearance. 
Bramber also has a feel of mid 1980s design. Bramber is ideal for use as a distinctive headline or display font.

Meaning of Tinkuy. Tinkuy is a Quechua word that means a meeting of opposing forces that complement each other. A meeting of opposites and differences. A meeting point where different thoughts, interests, feelings and aspirations confront and converge, providing the resurgence of new ways of thinking and that are embodied in confrontational actions, in mobilizations that seek change. Tinkuy patterns is born from the analysis of different archaeological pieces of native cultures of the Andes, where the visual signs that are recorded on them are related to the concept of encounter. It is part of the research project Crónicas Visuales del Abya Yala by designer Vanessa A. Zúñiga Tinizaray. — The Tinkuy Patterns. The Tinkuy Patterns system is divided into six files containing a total of more than 2650 modules that can be combined together creating an infinite range of possibilities. The digitization of the typeface family has been carried out by Ale Paul, through the Sudtipos foundry. An infinite number of possible combinations can be accessed by using the letters on the keyboard. Although a certain shape predominates in each set, they can be combined with each other.​​​​​​​

Grunge at its best, Mosketa looks real good typing any word, and adds a beautiful chaos without losing the balance. Try alternating uppercase with lowercase according the words to get the best of it.

Manito was designed by Garrett Boge in 1989. He employed a wide pen and angular, sturdy forms to simulate rough-hewn woodcut letters. The font, consisting of both capitals and small caps, provides an ideal graphic complement to collateral of a natural or environmental character. It is named after a native American word for 'Great Spirit'.

Jackass is a wacky four weight display design that plays with a randomization feature to offer a large range of layout solutions for each word. With added ligatures and a selection of number styles, this typeface is a funky solution that will constantly surprise! Included in the family are two complimentary dingbat fonts, Chickenz and Framez.