Dexter is an original new typeface creation by Alex Kaczun. It is a warmer, more sophisticated grotesque that is both fun and interesting. Its tight letter spacing and narrow proportions make the typeface particularly well suited for display sizes and headlines. This intriguing sans with distinctive letter shapes is typical for display fonts of the late 19th and early 20th centuries. Dexter is ideal for titles and headlines looking for impact and style. Dexter is also an excellent choice for magazines, books, posters, brochures, flyers, etc. The large Pro font character set, which supports most Central European and many Eastern European languages, also includes a corresponding small caps font along with old style figures.

The Bitstream version of Caslon Bold of the American Type Founders, 1905. Based on William Caslon I’s first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

This font has been especially designed for Mostardesign Studio by Olivier Gourvat. Created in 2010, this font family has been designed to serve sectors like financial services, modern industries, business and many more activities who needs a modern aspect in their communication. Its square proportions make the design very readable at a wide range of sizes. Shapes give the face a unique futuristic look and is a very practical choice for modern headlines, branding, text and web fonts work. The family contains also an alternative set with simplified letters designed especially for text and a unique stylistic set for titles and branding. UNicod Sans is available in 5 weights with corresponding italics and 2 styles.

Graphic designers, meet Angelik: a stylish typeface that you can really put through its paces. This unique font can bring one of its multiple personalities to a wide variety of design challenges. It’s a louder and prouder version of a typical assertive editorial-style bold serif headline font. But it can also really shine as a great choice for logos and branding, spanning a variety of vibes and styles. Works superbly in a high-fashion context, as well as in lowbrow surf-skate-ski-snowboard gear branding, or perhaps as an understated – yet exotic – vacation travel poster font. With its finely-tuned contouring, extensive kerning, and a multilingual character set, Angelik will not let you down.

Lately I feel reluctant to watch the news: The Amazon Forest is burning, Australian forests are burning, palm oil controversy… It really brings tears to my eyes to see all this destruction around me. It is like people hate nature with a vengeance - I cannot explain it otherwise. I made this font to take my mind off things. It was loosely based on Futura, a font I really like. Understory was completely made by hand. It comes with some cute upper case swashes and a whole bunch of diacritics. The good thing is: no trees were cut down or burned to make this font; in fact, I donated a nice amount of $ to help save the rainforests!

A long time ago, I lived and worked in the English Lake District. When I first arrived there, I camped out not far from a neolithic monument called Castlerigg Stone Circle. Castlerigg Stone Circle is one of the most beautiful stone circles in the whole of Britain; the views are great and it makes for a nice walk from Keswick. This rather grungy font was made with a Sharpie pen I initially wanted to throw away, because it was dry, but then decided I could at least get one more font out of it. The result is Castlerigg - a rather neolithic looking all caps font. Castlerigg comes with double letter ligatures for the lower case.

The Bitstream version of Caslon 540 of the American Type Founders, 1902. Based on William Caslon I's first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

The Ctoxina family is growing. Due to the success the author decided to add an outline version of the font. The typeface is now available in 6 different styles: light, light italic, regular, italic, bold and bold italic. The Atoxina family is designed especially for the burgeoning market of starships and other space cruisers. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters.

Infamy is a display typeface inspired by graffiti and street art, featuring the ‘bubble letter’ style of writing which was very popular among subway and suburban graffiti artists in the early days of American graffiti. This font recovers graffiti horizontal alignment, tight tracking and colourful lettering. The OpenType version includes many different ligatures which provide multiple options when composing a text. Multiple layers make Infamy a bright, shaded and colourful font, allowing you to dress up your writing. This font incorporates a pictorial rendering of character faces (instead of small caps), capturing the essence of the graffiti: the ‘childish’ and the ‘irresponsible’, which is present in the experimental side of the typeface.

Get ready to transcend to a world of magic, laughter, and butterflies. Your projects will spark delight and engage everyone who sees it! Wait no more, we will give you the best choice. Vintage Bridge-A Monoline Script Font Vintage Bridge is a handcrafted font, made to bring out a slice of retro vibes. Every hand-drawn stroke and curve will delight and add brightness and fun to wherever it’s placed. Ideal to create amazing headings, logos, menus, and social media graphics. Vintage Bridges includes Multilingual Support to make your branding reach a global audience. Features: Alternates Ligatures Stylistic Set Bonus Ornament PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

Introducing space-bright COLORED hologram font. Soft color transitions combined with minimalistic clean glyphs. Ideal for modern web and print design. Excellent readability of glyphs for both the title and the large volume of text is preserved. Multi-colored modern family with different types of coloring - a highlighted gradient border of letters or fully hologram glyphs - a large selection of 11 ready-made font styles. Originality of the font will fit well into the fashionable logo, headline in the magazine or on the website, emphasize the trend of the product in branding and complement web advertising on social media. This font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 11 OTF SVG color fonts in the family Free Demo font to check it works. Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

Linex Sweet was designed by Albert Boton in the late 1990s. It's a smallish family of three weights; the middle weight has an italic companion face. With its soft corners and slightly quirky head-serifs, Linex Sweet is a friendly design that sees much use. Several years later, Boton began sketching a new design, based on the original Linex Sweet but with a little more authority and grace. Linex Sans is the result. A mix of crisp angles and soft shapes, this new addition to the extended Linex family is both inviting and elegant. The subtle calligraphic overtones distinguish the design from more traditional sans serif designs. A three-weight family with a complementary italic for the Regular weight, Linex Sans is a versatile communications tool in both text and display sizes. It offers that mix of sophistication and joie de vivre that characterizes the designs of Albert Boton. Boton began his professional career as a carpenter. Fortunately for designers and typographers, he quickly turned from pounding nails to hammering out graphic design and constructing great letterforms as a profession. In his long career, he has created hundreds of distinctive, highly useful and award-winning designs. And even though he is now retired from active business, Boton continues to create fresh, new typeface designs. Add Linex Sans to the list.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Modesto Initials had existed as a single font for several years. I recently added a fill font to put color in the Inlines. The Inline font still works by itself. The Fill font works alone too, as an ultra Modesto on steroids. They work best together. Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

Nokrios is a font specifically inspired by the sport of racing. adopts the speed and power it tries to fully reflect to make a bold statement that stands out. We designed it to be a heavy-duty, functional add-on option for big, bold titles or small add-on types. This font features two different font options and two italic options. This font is perfect for adding punch to your projects without losing readability or impact at small sizes. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

The vintage display font family Vernyhora. The typeface is intended to be used in those places where the letters when it is necessary to transmit the strong character, stability and historicity. The font has got 6 weights. It contains extended Cyrillic and Latin alphabets. It also consists of the alternative set of characters from the old Ukrainian alphabet. It can be used for the state institutions names. It was planned to be a font of old cities and towns. From the very beginning the font was created in order to execute signboards at the entrance of towns. For the font creation the author was inspired by the graphic designers of the early 20th century, such as Georgiy Narbut and Fedir Krychevs'kyi. From the Ukrainian language the font name is translated into English as mountains mover.

FIREBIRD regular, outline and bold, is an 3 font system that can be layered in different ways to create a infinite title effects used commonly in poster and 3D logo design. Firebird’s layer combinations give you complete control in producing styles like, outline, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. Firebird works great in any graphics application that allows you to utilize layers or 3D effects.

Orbi Sans was designed as an extension of the font system Orbi released on the end of 2010. It’s a low contrast humanist sans serif of open design with the elements of dynamic nature that inherited from Orbi its elegance and clearness. The faces were coordinated with Orbi on metrics, proportions, weights, and design features. Orbi Sans consists of 4 roman weights with corresponding true italics. It can be used together with Orbi and separately. Due to wide variety of styles the family is very good for books, periodicals, and business papers. The fonts were designed by Natalia Vasilyeva. Released by ParaType in 2011.

Barceloneta is a simple sans-serif font, with heavy bold and very characteristic soaring accents, referring to the shape of sharp towers in the building standing in the very center of Barcelona, designed by Gaudí - the Sagrada Familia. Most of the design work on the font also took place during the stay in the aforementioned city. As a result, a typeface with very different thicknesses was created, containing 364 glyphs, characteristic - in eight varieties, which, thanks to its diversity, can be used both as a headline typeface, but also one used for the composition of continuous text (which was not present in the initial assumptions).

SILVER CHISEL Regular, Outline and Bevel, is an 3-font system that can be layered in different ways to create a infinite title effects used commonly in poster and 3D logo design. Silver Chisel’s layer combinations give you complete control in producing styles like, outline, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. Silver Chisel works great in any graphics application that allows you to utilize layers or 3D effects.

Breton is a geometric slab serif typeface inspired by Boston. Breton has a strong personality and it is an ideal face for headings and branding design. Its most noticeable characteristic is a great difference of proportions between rounded characters (like "o", "c" or "e") and non-rounded ones (like "n", "m" or "z"). By combining them, you will be able to give your compositions a very unique rhythm. Each font style comprises 417 characters, which support more than 200 Latin-based languages, as you would expect from Latinotype fonts. Breton comes in 10 styles, from Hair to Black, and includes matching italics. Breton was designed by Daniel Hernández and Rodrigo Fuenzalida.

HoneyBee is an all-caps display face in a delightfully hand-lettered style for irresistibly sweet layouts on food packaging, fantasy games, or children’s products. This versatile font includes three sets of full-size capitals, two sets of smaller capitals. Mix and match swash forms with titling forms to create headlines, titles, and wordmarks. 20 charming ornaments are included to complement your designs. See what’s included! http://bit.ly/2bGYin7 *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/

Add some serious chubbiness and cuteness to your designs with PUDGY PANDA, a bold and bubbly sans serif that’s perfect for anyone who craves a playful touch. This round and roly-poly font will bring a smile to your face every time you use it. And with a doodle dingbat set included, PUDGY PANDA is sure to make your projects stand out. Don’t miss out on this fun and unique font – add PUDGY PANDA to your collection today! MIX PUDGY PANDA comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥❤✿•· ÷×+−±≈=≠≥≤[]:;’”,.|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇ ÓÒÔÖÕŌŐØŒŔŘŚŜŠŞȘŤȚÚÙÛÜŮŬŪŰŲẂẀŴÝŶŸŹẐŽŻÞẞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñň óòôöõōőøœŕřśŝšşșťțúùûüůŭūűųẃẁŵýŷÿźẑžżþß MIX PUDGY PANDA MIX (Dingbats) comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

Welcome to Nootdorp, a Sans Serif! Inspired by modern sans serifs, the powerful typeface Nootdorp is born. The name comes from a place in Germany: Nootdorp. This font is versatile for branding, labels, packaging, logotypes, websites, headers, headlines, magazines, and more. Nootdorp comes with 3 styles: Regular, Italic, and Outline. So, very good for pairing the fonts! Features and advantages: - Simple Installation - Opentype Ligatures - PUA Encoded - Support for MAC and PC. Also for Adobe Illustrator, Corel Draw, Indesign or Photoshop - 23 Language Support: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Norwegian Polish Portuguese Slovak Slovenian Spanisch Swedish Zulu

The Sword has been Drawn! The Quest for the Holy Grail has begun! When Arthur took the mighty sword of Excalibur from the Lady of the Lake, little did he know of the stories that would be spun, the myths that would be built around him, the Legend of Camelot and the Knights of the Round Table! And The Font. Merlin might have been King Arthur’s sage advisor, a font of wisdom and magicks, but never was Merlin available in postscript, truetype and opentype formats, nor was Lancelot, Arthur’s First Knight suitable for Celtic Display Lettering! See the families related to Excalibur Sword: Excalibur Stone.

Blue Village – A Two-faced Modern or Vintage Serif Font with a fancy, playful, unique, and versatile vintage style. It looks amazing at display sizes and is easily readable in text size. This font also have a lot of unique alternate and ligature that will create amazing design projects. Blue Village with it’s vintage / retro style work well for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, or whatever project you’re working on. What’s Included? Uppercase & lowercase letters, numbers, punctuation Ligature & Huge Stylistic alternate Multilingual support If you have any questions, please feel free to get in touch. Thank you

Like its feline namesake from Kipling’s “Jungle Book”, Baghira has an elegant, smooth appearance and an impressive set of large, sharp teeth. With smoothly drawn curves, precisely placed corners, and rectangular dots, Baghira is a design rooted in the here and now. Its true italics gently allude to calligraphic roots, but overall, Baghira doesn’t follow any historical model. This cool cat sets his own standards. Designed by Christian Gruber & Moritz Kleinsorge, the Baghira font family consists of 8 fonts, with 4 weights ranging from Regular to Bold. Its character set contains 800 characters per style and is suited to quality typography in editorial design, corporate design and advertising.

Mtwane is a contemporary font, fusing the vigor of African design with the clean-lined sophistication of the European fonts popular at the turn of the 20th century. In the wake of African Renaissance, European and African cultures are counter-influenced, resulting in an exciting fusion of the two. Mtwane plays on the line between upper and lower case characters, creating a young, powerful, in-your-face effect. Use Mtwane for clear, powerful impact in contemporary design. Mtwane contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

STEEL regular, outline and bold, is a 3-font system that can be layered in different ways to create infinite title effects used commonly in poster and 3D logo design. Steel’s layer combinations give you complete control in producing styles like outline, 3D, and beveled. It can be used alone and/or in layers, and allows you adjust leading and kerning. Each font has similar metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. Steel works great in any graphics application that allows you to utilize layers or 3D effects.

Winsome is a friendly script face that offers virtually endless variation. This charming font balances the casual with the calligraphic, and Winsome’s generous letter spacing and unfussy letterforms are always a pleasure to read. Customizable with over 59 alternates, 466 swash characters, and 89 ligatures, Winsome even includes a disconnected version using the titling feature for even more design versatility. See what’s included! http://bit.ly/1Q11B1U *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/

After releasing Amsi in 2015, this year Sans Beam is now ready to launch with the design that support many different usability from Headline to Body text, and specifically designed to be compatible with other font families of Stawix Foundry. This typeface has been designed under the simple idea of ‘Choose. Play. Repeat.’ on the limited space of typographic layout, in which most of the time faces the problem of choosing appropriate font weight that would serve the right intention. This typeface is designed to erase those problems, preventing impossibility in designer’s layout in both Body Text and Headline, which comes in 15 different weights.

I don’t live in the mountains, so when we go on holiday and visit the mountains, we always like to hear the echo! A bit childish, I know, but that’s how it is. Background Echo is a very nice, handmade, all caps font. It’s not exactly a laser-cut design; glyphs are a bit uneven, wobbly in places and have their own idea of what they should look like. That, my dear potential customers, is the charm of a hand made font! Background Echo comes with a vast array of diacritics, regular and bold styles and a selection of interesting swashes for the upper case glyphs

From 1702 to 1811 the French "Royal", then "Imperial", Printers, neglected Garamond and Fournier's designs and used only the font called "Romain du Roy", carved (1693 to 1723) by Philippe Grandjean by order of the king Louis XIV. 1790 Royal Printing was inspired by various variants of Romain du Roy that were in use during this period. Our sources were mainly official and legal documents printed in the late royal period, and in the beginning of the French revolution. There was no bold style. The 1790 Royal Printing Caps fonts contain small caps, plus titling caps for headlines as 1790 Royal Printing capitals are intended to be used preferably for text.

Ligaturess Serif is a modification of Textworthy Serif. This modification contains 79 uppercase ligatures. 59 lowercase ligatures. And 493 ligatures with diacritics marks. Ligatures are groups of letters joined together and usually compensate for the free space between individual letters. Ligaturess Serif, in addition to the basic ligatures - fi, fl... - also includes superstandard ones - CA, OO, ST, SS, VA... -. Text set in Ligaturess Serif has a unique and interesting look. The font works well in headings. And when using capital letters. A book cover, a chapter title, an inscription on a poster or even an interesting logo are the places for which the Ligaturess Serif font was designed.

This font was created with inspiration from the wood blocks carved for chapbooks, posters, calendars or newspaper in the late 1500’s and early 1600’s. We have tried to keep their innocence and rough style. It has been conceived as an homage to the “Pilgrim fathers” landing in Plymouth Bay in 1620 and celebrating the first Thanksgiving with Native Indians in autumn, 1621. The font, consisting of two English capital alphabets (so, without any accented characters): Initials and caps, and a lot of separate figures added, is especially improved by strong enlargments, 72 pts and more, and has very good results when printed.

This font was originally designed side by side with my first attempt at a semi serif typeface in 1997. The design made it through to full development only a couple years ago when our studio decided to complete the regular weight for a local project here in Bangkok. The face is a traditional serif with narrow stem (somewhat like sans serif) and industrial stroke. A good mix of Bangkok character where you can find Wat (old buddhist temple) next to futuristic high rise. This font was shown in Klingspor-Museum Offenbach, Germany, at a Typographic & Type Design exhibition Schrift in Form 3-26 September 2008.

Released in 1993, Ocean Sans is a sans serif design created for Monotype by the talented Malaysian designer, Ong Chong Wah. The Ocean Sans font family has a distinct contrast between thick and thin strokes which sets it apart from the rather austere Grotesques with their more monotone appearance. Ocean Sans italic is an unusual design for a sans face, a strong cursive influence gives it a flowing rhythm not generally associated with sans serif italics. Ideal for text and display setting, the freshness of the Ocean Sans font family will give the user further scope in the design of catalogues, brochures, advertisements and flyers.