Kobajeon is a fun handwritten font with a touch of Japanese style. This font is suitable for both display and title. Equipped with 200+ Glyphs that will give the impression of a good handwriting style. It is perfect for product packaging, cartoon, magazine covers, social media, wedding, or just used to express words above the background. Enjoy!

Dingocittà with its 12 fonts, contains a large amount of features like small capitals, different figure sets, automated fractions, ordinals, standard ligatures, contextual alternates (generates letter combinations to avoid form collisions by simultaneous maintaining word fugue) and discretionary ligatures. Dingocittà is suitable for a wide range of applications and can be readily combined with other fonts.

A 1928 menu for the restaurant “Rotisserie Du Cardinal” had the word “Cardinal” hand lettered in quite an unusual Art Nouveau type design consisting of thick and thin lines using angles to form the letter shapes. This eccentric (yet charming) style of lettering is now available as Rotisserie Menu JNL in both regular and oblique versions.

SERID is a display font condensed and regular designed for editorial applications. Inverted contrast, features a serif hybrid that gives a decorative character and personality to the font. Being a display type, intended for use in titles or in small blocks of text, from 24pt. The name SERID comes from the combination of words “SERif” and “hybrID”, resulting SERID.

Fonts with special characters in lowercase vowels: a, i, u, e, o Make sentences more colourful. This font is neutral for use in any product. Especially for happy things, or life motivational words. or contemporary like the teenage years, discover the beauty of harmony in your work with this font. The right choice of fonts, makes a great product.

Say hello to 'Picasso in paradise' - an avant-garde script with loads of fresh buoyant character and an abstract, casual feel. The script includes a large selection of natural-looking ligatures, that form automatically as you type when you have your OpenType features active. Perfect for Branding, Greetings, Book covers, advertising, packaging, and so much more.

Business Penmanship is an ode to the business handwriting from the era penmanship was a highly-valued part of business education and practice.
  In the early 1800s, Platt Rogers Spencer (1800-1864) created what would become the most widely accepted and prized cursive writing method used in business. Before the American Civil War, Spencer was the undisputed king of handwriting. He was also an outspoken supporter of American business education. By the late 1800s business education included some focus on penmanship, and there were many colleges that specialized in it. One of the most influential penmanship schools was founded by Charles Paxton Zaner and his partner E. W. Bloser. Later on, in the early 1900s Austin Palmer introduced the Palmer Method of business penmanship, and it soon became the most popular handwriting system in the United States.
  Business Penmanship is a single feature-rich font that includes over 1100 characters, covering ligatures, alternates, a large set of beginning and ending extensions, as well as a wide range of Latin-based languages, including Turkish and the languages of Central and Eastern Europe and the Baltic region. To take advantage of all the OpenType features included in the font, please use within programs that support such advanced typography.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

Yalla PRO was inspired during a trip Mateusz Machalski took to Cairo (Egypt). The vast array of strong Arabic headline type, geometric forms working in interesting ways and contrasting with smooth, calligraphic details fed the design. Due to the same proportions and heights, Yalla works great together with Afronaut. Yalla was extended in 2024 by Mateusz Machalski & Małgorzata Bartosik with new weights.

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.

Steradian is an exploration of the geometric genre and although it has a geometric base, the widths between letters are not much different across the weights. That is due to the process, in which the proportions of the heavier weights paved the way for the lighter ones. It also has a series of details that make Steradian stand out and gives it a special touch. Some of its main features are the double-story ‘a’, its closed apertures and some of the capitals have a distinct personality (such as the G and Q). Read more about the design process at the Emtype’s Blog.

Make your mark with Checkmark; a slick, high energy signature-style script font guaranteed to make a big impression. Digitally hand-drawn, it's super-clean smooth flow and high-intensity pen strokes make an unmistakeable impact in logo/branding projects, large header text and product packaging. Checkmark is packed full of extra features to give you plenty of customization options. This includes; a full set of upper and lowercase alternate letters, 20 ligatures (double letters) to help the script lettering flow more naturally, 26 swashes and a full set of lowercase end forms to give your text that extra flair and finesse. Here's a run through everything in more detail; Checkmark • A smooth-edged signature style font containing upper & lowercase characters, numerals, and a large range of punctuation. Checkmark Alt • This is a second version of Checkmark, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Checkmark Swash • A third font containing 26 hand drawn swashes. Simply type any a-z or A-Z character in this font to generate a swash. Perfect for underlining your Checkmark text and adding a bit of extra flair! Ligatures • 20 ligatures (double-letters) are included to help your lettering flow more naturally. Many programs will automatically have this feature switched on for you, but if you need any help accessing them, please feel free to drop me a message. End forms • Are available for all lowercase characters when using the Checkmark font. Use these characters at the end of your word to add a stylistic 'end-swash'. These are accessible via software with opentype capability, by turning on 'Stylistic Alternates', or via a Glyphs panel. Language Support • Checkmark fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

This is a special font for use creating US Postal Service "Intelligent Mail" barcodes. Those are the barcodes you see on most cards and envelopes. Commercial mailers get the best pricing by printing barcodes when they address the mail, saving the Postal Service a step. The barcodes are also used on reply mail and Share mail, and for "Informed Visibility" tracking. Software to create these barcodes, including the USPS Intelligent Mail Small Business (IMsB) tool, typically provide an output of 65 characters, each character being an A, D, T or F, corresponding to each of the styles of bar. SmartBars 12 replaces those characters with the corresponding bar. When doing a mail merge to print addresses, the user would set the barcode field on their merge template to be printed using SmartBars 12, at 12 point, regular, and the barcode will print with the correct bars and at the required size to meet USPS requirements.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

I was in a bit of a gloomy mood just before I created this font. I had no inspiration whatsoever (which always affects me in a bad way). I was trying to create a font using broken satay skewers, as using those gives the letters a unique look. I broke about 25 skewers and they all broke ‘the wrong way’. Yes, it’s pathetic, I know, but that’s how it is. I decided to go to the gym and do a little workout, hoping my dark mood would pass. When I came back, I broke one more skewer and lo and behold, it broke exactly the right way! I made this font in one go, using that fantastic skewer and lots of Chinese ink. Darkness Rising comes with all the diacritics you’ll need, plus double letter ligatures and some cool underlined alternates.

Taco is a new Mexican style font family based on our Tavern and Algerian Mesa type designs. When I finished the extra heavier weights for Tavern I decided to play around with a decorated version, the extra bold letters allowed for much more room to work with an inlay pattern. After experimenting with several designs I decided on a Mexican pattern because the original base font is very popular in Mexican restaurant logos and menus plus it's frequently used on Tequila bottle labels. I originally planned three weights for the Taco font family, however, after completing the bold weight I've decided to release it now so you may put it to use while the regular and extra bold are being produced, sorry I can't estimate a release date for the two other weights. To use the fill font layers you'll need an application that allows you to work in layers such as Adobe Creative Suite products. The Taco Fill Uno font may be used as a stand alone font, however, we recommend searching for our Tavern font family where you'll find three different bold weights of this same design. Opentype features aware applications are also needed for accessing the many alternate glyphs in Taco, all the alternates that you love in our Tavern fonts are also available in Taco. While the fill font layers are in registration with one another some applications may throw them out of alignment by changing the spacing. Custom inter letter spacing in Adobe Creative Suite may also throw the fill fonts out of alignment. We recommend doing your custom spacing first then duplicate the type layer and change to the next fill font and color. The inspiration for the Taco name of this font family was from a homemade Taco dinner I made for a guest at my house, after dinner I searched to see if there was a commercial font named Taco. There was no such font named Taco and the rest is history. The old Stephenson Blake Algerian font has come a long way since 1908, and we're not done with it yet. We hope you enjoy our Taco font family, we're looking forward to see it in use.

Introducing "Sparkling Horizon" – a mesmerizing handwritten font that captures the essence of boundless creativity and shimmering elegance. With every stroke, this font evokes the sensation of glistening sunlight on the horizon, infusing your designs with a touch of radiant charm. Whether used for invitations, logos, or creative projects, "Sparkling Horizon" brings a sense of enchantment to your words. Let your imagination take flight as you create with this font.

The Submarine family is based on a custom designed typeface for website navigation and headlining purposes, hence its geometric structure. In contrast to most other typefaces, where increase of boldness of the lighter weights expands externally in the width, the Submarine heavier weights expand internally, leaving the length of words and texts pretty much the same. The open structure of the lighter weights make it reasonable text face as well.

The grotesque workhorse: Substance fulfills the primary role of emphasizing content. Containing 8 weights + italics (800+ glyphs each) Substance is a workhorse with loads of subtle OpenType features (small caps, a choice of lining, tabular and old style figures, numerators, denominators, tabular figures and signs, fractions, ligatures), 21 currency signs and a diversity of symbols and arrows. Substance provides everything you need for demanding briefs like signage or corporate design.

Iridium™ was designed by Adrian Frutiger in 1972 for Linotype. It is in the modern" style like Bodoni or Didot, in that it has the sparkle created by a high thick/thin contrast and a symmetrical distribution of weight. But the sometimes harsh and rigid texture of the modern style is tempered by Frutiger's graceful interpretation. Iridium itself is a very hard, brittle and strong metal; yet the Latin and Greek roots of the word mean rainbow, or iridescence. And indeed, this font is infused with a more lustrous and complex spirit than the average rather stark modern typeface - note the stems that gently taper from waist to serif, the nicely curved ovals of the round characters, and the slight bracketing of the serifs. Iridium was originally designed for phototypesetting, and Frutiger himself cut the final master photo-mask films by hand. This digital version has all the craftsmanship of that original and includes the roman, a true italic, and the bold weight. Iridium works particularly well for book and magazine text and headlines."

There are a lot of narrow passages... like the Straits of Gibraltar, Hormuz, of Malacca, of Thermopylae, the Dardanelles, the Dervenakion, Magellan, Rentina of Naruto, Kerch etc. I tried to pass into mine closely with the name «Artios Pro". Walking on the same considerations as the previous series (Khamai/Aeolus/Corset) I tried to give some sense of diversity for narrow passages of the letters. These twelve style are the result. And here, the "Rail" engage with "Semi Bold" in the same way as the previous series. This series is composed and includes 12 fonts with 625 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

Ablati is the commercial release of the font designed during the production of our new font design book, “Practical Font Design”. It is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Ablati is a very different direction for me. Designed to produce gaphics to use in the font design book, I was forced to really reconsider many of my working methods to make them work for outside readership. Like all designers, my internal design processes can get really sloppy. The book helped me clean up my act. Taking my inspiration from one of my favorite fonts of all time {though I've never really been able to use it much}, Romic, by Colin at Letraset, I decided to design a unilateral serif font. In most ways, this is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the new set developed for the book. There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Several alternative forms, a dozen ornaments, and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy! The Oldstyle and Small Cap fonts are an attempt to have most of the OpenType characters available to people still using Type 1 and TrueType fonts.

When letterpress started with the Gutenberg Bible, the typeface was like a texture. Before humanism, type did not really need to be legible. The letters were rather drawn in an ornamental way. It filled a space. My idea for Matrona was to create a similar structure. I wanted it to be very bold and still as legible as possible. The result was a headline typeface that can fill spaces. You can even fill it with a picture. Or you create an ornament with contents. There are 3 weights to extend the usage to different sizes.

Blestive Script is a cool calligraphy typeface. This marker lettering is provided in Regular, Italic, Bold and Bold Italic. Perfect for a logotype or headline, use this handwritten type to express life and optimism. Use underscore _ anywhere in a word to make a swash underline. Example: Won_der Use # after any word to make a swash letter. Example: Cute# Use multiple underscores after any word to make swashes of different length. Example: Weat___her (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Tallahassee Chassis JNL was modeled from a toy alphabet rubber stamp set made in Japan and imported to the U.S. during the late 1950s and early 1960s. The lettering style somewhat resembled that found on the side of old railroad cars, buses or trolleys.

A unique and stylized type design with Art Deco influence was found within the French publication “Modèles de lettres modernes par Georges Léculier” (“Models of Modern Letters by Léculier”). This lettering is now digitally available as Deco Wide JNL in both regular and oblique versions.

Spleach is a splendid mix of comic text, grafitti and unicase letters - as always, the pizzadude way! The letters are heavy and black, but still light enough to funk up your text! You will need to use OpenType supporting applications to use the autoligatures

Lately I have been experimenting with different foods. At home, we eat a lot of Asian food, but I thought it would be nice to broaden my culinary horizon a bit. So far I have (successfully) added Georgian beef and walnut soup, Tacos (after a suggestion by my friend Stuart), Surinam Roti and various vegetarian dishes to our menu. When I created this font, I had to think of Gumbo - a dish I have never made. Gumbo is a handmade display font that comes in a rotund regular and an obese bold (with Italics). Use it for your book covers, product packaging and sticky notes. Gumbo comes with cute ‘end of word’ ligatures - just type the glyph + space and presto: you have a little swash. As for the dish Gumbo, well, I will make that this weekend!

"Hi there, thank you for passing by. Colllab Studio here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Mister Arigato is a modern, unique calligraphy font inspired by traditional Japanese and Korean brush lettering. It gives you that little extra something you always been looking for. We do more than just type, we help you show how much you care in your most precious brand. This font is a great option for any project that involves sending letters as a decorative piece of artwork (attach it to a mug, or place on a greetings card), or for use for branding purposes(headline, logo, etc.). Though it is not double-width, the letters easily tailor to any word-spacing. A Million Thanks www.colllabstudio.com

I love markets, especially the farmer’s markets with fresh produce and home made cheese. Too bad I need to travel a long way to get to one, as there is only a ‘regular’ market in my hometown - you know, with cheap duvets, ‘local’ fruit like bananas and a guy selling books about the end of times. I thought it would be great to create a font family you could actually use on a market. Hence Market Square. Market Square consists of 4 different fonts (each with its own Italic style), ranging from a fat marker font to a thin, squarish font. Each of them oozes freshness and authenticity and they were designed to complement each other. The cherry on top is the cute doodle font, loaded with fresh produce and seafood - just like you’d see on a Market Square.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

Herr Pfister was a printer in the city of Bamberg Bavaria. He is known to have published nine works. And it has been contentiously argued that he printed the “36 line Bible.” He was responsible for two innovations. The first was printing in his native German language and the second was the use of woodblock prints to add illustrations to the text. These were both first with the use of movable type. He was heavily influenced by Gutenberg’s typefaces but there are a range of notable and also subtle differences between the two men’s output. He was known to be active in the industry from about 1460 to his death in 1466. This font was specifically based on his "Biblia Paperum."

My daily challenge is how to get my kids out of bed, feed them breakfast, get them to dress, wash and pack their school bags and drop them off at school before the bell rings. The rest of the day, the challenge is to renovate our house, get my work done, pick up the kids from school (plus all of their friends, who want to come and play) and cook dinner. Of course, the word ‘challenge’ was misused by the internet. Not too long ago, there seemed to be and endless stream of crazy challenges that ended up hurting or even killing a few people. Daily Challenge font is none of the above: it is a clean cut, 100% handmade, all caps font. The only challenge here is how to adapt your design so it fits this font perfectly… ;-)

Gaslon is a slight reinterpretation and major expansion of a 1973 film type called Corvina Black, originally designed for VGC by A. Bihari. While the original typeface was popular in its own right, there were some things in it that were too quirky to work in the display applications it was intended for. Some of the letter combinations just didn't work to their visual optimum. For example the a and o were too similar, ditto the C and G, the E, F and J were too overwhelming to be set properly within certain display uses. Gaslon eliminates these problems by the inclusion of plenty of alternates for the vast majority of the original letters. In fact, the original a is itself now an alternate to a gorgeous new one. The Gaslon Alt font includes tremendous possibilities for both unicase use, and proper use in conjunction with the main font. This is our true homage to a typeface that had great potential more than three decades ago, but was overlooked by digitizers because of a few quirks it had in film type contexts. Full of curves and invitation, Gaslon ranks very high among the friendliest poster faces ever made. It is ideal for friendly store signs, children book covers, and plenty of other applications. In fact, if you're planning on contributing to a few protests around your neighborhood or city, you would probably be better off using Gaslon to help your sign/placard carry words and slogans that are big but friendly. Nothing beats "DOWN WITH GAS PRICES" set in a nice imaginative mix of the many Gaslon letters. The OpenType version of Gaslon is a single font that contains all the alternates and niceties programmed within features accessible by OT-friendly programs.

This font is the younger sister of HexBraille with which it may be combined to create new patterns. This also explains why their introductory text are similar. Introduction The purpose of this monospace font is to display braille in an original and "steganographic" way. The Kernig prefix means "Robust" in German, this is because of the crank shapes . The core of the glyph design is a flat hexagon which can be read as 3 rows of 2 dots (i.e. regular braille glyph grid). Even if within a glyph, braille dots ("square dots" indeed) are placed on the vertices of a flat hexagon, the difference with HexBraille is that edges connecting vertices are not straight lines but "crank shapes" instead. This can be summarized by saying that the whole glyph is a Hexcrank (a flat hexagon where vertice pairs are connected by a crank shape) NB: The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 6. A. "Kernig Lattice" In KernigBraille, glyphs are connected to each other, thus for each Hexcrank glyph there are 6 connections: 2 on left/right and 4 on top/bottom. In the final design some cranks were removed for esthetical reason (i.e. leave empty space for allowing patterns diversity). In summary, a text using this font won't display a honeycomb but a lattice instead. NB: Please notice that in order to obtain the lattice without vertical gaps, you must set the interline to 0. The lattice is made from 3 kind of shapes: a.1. Hexcrank a.2. Square a.3. Irregular cross (mostly unclosed) The design favored squares over crosses. The whole slightly resembling a PCB. B. Text Frames It's possible to frame the text with 4 sets of frame glyphs (as illustrated by poster 2) b.1. Kernig { € ° £ µ § ¥ ~ ¢ } b.2. Rectangular-High { è é ê ï î à â ä } b.3. Rectangular-Low { Â ù Ä Ê Ë Ô õ ö } b.4. Mixed Kernig+High: a mix of Kernig and Rectangular-High frame glyphs When using frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes in this font (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

So the lumber was cheap - just a pile of offcuts - and so was the carpenter… And you couldn't say he was exactly lazy, but he was certainly efficient… mostly he would just cut a couple of planks to size, slice off a corner now and then, once in a blue moon hash up a curve… I guess he didn't have a drill, cos there are no holes… and he sure as hell didn't have a ruler… But he did have some kind of an eye, and until it falls off the wall it'll look pretty OK… Ply comes in six styles, offering differing degrees of neatness and adorned or not with fixings… There are money-saving packages too… It’s uppercase only, with variations between upper and lower case, and OpenType types can switch on Stylistic Set 1 to take the effort out of keeping things varied…

Who doesn't love Fridays? For many people it is the end of the working week and the start of the weekend. What's not to like? I tried to put all that great vibe into this font - it is charming and clumsy and ready for a party...just like my Fridays...ehh...my Fridays are actually quite simple - no parties or staying out till early morning...been there, did that...now I love my Fridays, just the way they are! :)

This typeface was created as a personal project. Inspired by places like Chattanooga and Berkley, I wanted to create a bespoke typeface family for the US Virgin Islands. I noticed that the typeface Berlin Sans was in use all over the islands, in signs, logos, even on the side of police cars. So I built this typeface from the ground up with the goal of updating an old tried-and-true font into a family with versatile potential.

All that remains from this once so proud and glorious antiqua are steel skeletons. Destroyed. Distorted. Ruins. The main focus and usage of LamentaX are headlines, posters for event graphics and music/media/game packaging. Lamenta X was revised 2012 and now hold a full character set of basic english/latin letters and west european diacritics!