The purpose of this monospace font is to display braille in an original although rather steganographic way. Its glyphs are built from a flat hexagon which can be read as 3 rows of 2 vertices (i.e. regular braille glyph grid). The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 5. Glyphs are connected to each other, thus 6 connections for each hexagon (2 on left/right and 4 on top/bottom). In the final design many diagonal segments of the hexagon were removed for esthetical reason. Text is displayed not as a honeycomb but as a lattice instead which mixes hexagons, squares and "irregular convex octagons" (mostly unclosed), the design favored squares over octagons. The whole slightly resembling a PCB. Text can be framed with 3 sets of Frame glyphs (as shown in Poster 4): Octagonal: { €, °, £, µ, §, ¥, ~, ¢ } which can be mixed with Rectangular High Rectangular Low: { è, é, ê, ï, î, à, â, ä } Rectangular High: { Â, ù, Ä, Ê, Ë, ô, õ, ë } which can be mixed with Octagonal NB: When using Frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

It's been a while since I named a font after a sheep, so I figured it was about time. The Blue Sheep, or Naur (Pseudois nayaur), is actually an existing species of sheep. It is found in the Himalayas and is a major food for the very rare snow leopard. Peter Matthiessen wrote a book about it called The Snow Leopard. My Blue Sheep font is not rare, nor threatened. It is an uplifting text font. It is very legible and fun to use and will keep you bleating for more. Comes with a flock of diacritics.

An indomitable woman who traveled a lot, Emily Austin (Bryan) Perry was one of the children of Moses Austin, of Austinville, Virginia. Like her famous brother, Stephen F. Austin, she settled in Texas as one of that region's earliest colonists. While traveling about seeking treatment for a sickly daughter, she wrote many letters home -- letters that show a distinctively compact, legible hand. The challenge for me in designing the face: resisting the temptation to read and re-read her bossy directives and urgent appeals, all packed tightly together on a page. Emily Austin has a complete character set, and then some.

Op-art never looked so good. Taking a cue from the popularity in the 1970s of deco Prismas and their related contemporary interpretations, this geometric font updates the trend. Overlap text in different colours or black and white for eye-teasing moiré combinations. An image above illustrates the use of Dazzle Underprint, a uniform-width version of the font that is placed under Dazzle and used to create two-colour effects simply and easily. Dazzle Underprint is not intended for solo use, only as an underprint — please see Dazzle Unicase for a range of undecorated weights.

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

A distorted and fun Persian Arabic font which brings a lot of diverse emotions! Garmalad font is playing with standard and traditional way of Right to Left Arabic script. Based on Naskh, letters are designed in a deformed and disintegrated way to make it a typographic artistic typeface at the end. This font is a great choice for all graphic designers, typographers and visual artists. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Phlebodium - geometric sans serif typeface, 16 fonts Phlebodium is a modern geometric sans serif font family. Nostalgic, soft and playful font in 80s 90s 2000s techno rave style. BONUS: vector cannabis / hemp leaf, sunflower, mushroom / fungus, meat, unicorn, heart, pizza, hot dog, sun, phlebodium, clover, dog, cat, bear, sun character mascot illustrations and t-shirt designs Phlebodium type family available in 16 styles. 8 Italics 4 weights: Thin, Regular, Medium and Bold 2 widths: Normal and Condensed This bold typeface is ideal for use in display sizes. Perfect for headlines and logos, text blocks, any type of graphic design, printing, t-shirts, posters, branding, web and applications, social media and many more Phlebodium typeface contains 4 weights, normal, condensed and italic styles

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

Introducing Terrapin! I named this after listening to a song called "Terrapin on a Tightrope." Considering the fact that a terrapin is a kind of turtle, it makes that song title seem pretty harrowing! This font has heavy roots in one of my favorite lettering styles. It's rough, scrappy, and likes to do its own thing. It has a full uppercase and lowercase set, numbers, punctuation, and lots of extended Latin characters for language support. It also includes alternate versions of 17 lowercase letters. Where Terrapin really shines is in the ligatures. I've written separate two- and three-letter combined forms for some of the most common letter combinations, and a few uncommon ones to boot. There are almost 100 ligatures in here, all PUA-encoded so everyone can access them (and also coded so if your software does automatic ligature replacement, they'll pop right in).

Groovy started out as a prospective variant in the ‘Flashback’ series but very quickly established its own distinct appearance, especially with the lower case letters blending into the format so well. There wasn't any preconceived idea to design a retro looking font in principle, it simply evolved that way, but I do think it has several characteristics reminiscent of style genres from the '70s. It’s probably quite subliminal and like me, you may find yourself thinking, what does that remind me of? The double-entendre'd title is quite apt too, not merely for reasons of its outwardly retro appearance but also because of the considered, rounded elements forming the negative spaces throughout. The font also has something of a chameleon-like personality, being both adaptable and capable of having a trendy / fun appearance, or alternatively something solid and stylish, depending on the use, as demonstrated in the banner examples here.

Kaoly Regular A unique bold serif with lots of beautiful alternate characters that you can combine to get an attractive final lettering with nice and dynamic shapes just in seconds! Thanks for the unique alternates! This font is suitable for use in many design form, for example Magazines, postcards, logos, Wedding projects and many more. We recommend using Adobe Illustrator or photoshop. Kaoly Lite This is the lite version of Kaoly Regular, recommend to use as a web font. For this style, changes only on uppercase, we also removed the alternative letters to reduce the file size. It will load your website faster when you're using this font for website heading text, products title or using applications that do not support OpenType features. It's very easy to make beautiful words just by typing and tada... you're done. Kaoly will make your work easy and fun.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Introducing Monofonto—a meticulously crafted, technical typeface with a distinct, monospaced sans-serif design. Initially launched in 1999, Monofonto rapidly gained popularity throughout the 2000s and has since become a favorite choice of designers and developers alike. Built for clarity and precision, Monofonto is a compact sans-serif typeface, making it perfect for situations where space is limited. Its heavy strokes provide exceptional legibility even at small sizes, which is ideal for technical and scientific writing. Whether you’re working on a research paper, technical documentation, or programming code, Monofonto has got you covered. But that’s not all; Monofonto’s mathematical characters, currency symbols, and terminal block-draw characters make it the go-to typeface for all your scientific writing needs. Its vast collection of characters ensures that you have everything you need to create accurate and detailed technical documents. Monofonto comes in three styles: Regular, Italic, and Bold-Italic, giving you the flexibility to create different looks and styles for your technical documents. Its unique design and attention to detail make it an excellent choice for designers who want to showcase scientific accuracy and precision in their work. So, if you’re looking for a technical typeface that can help you create precise and accurate scientific documents, look no further than Monofonto. Its clarity, precision, and mathematical characters make it the perfect choice for any project. Try it today and experience the beauty of scientific design in your work. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Geodeco font family brings to you the recovery of the typographic forms from the beginning of the 20th century, with a strong ArtDecó flavour but from a new point of view: modernity and geometry. Modernity in the visual contrast between lowercase and capital letters, where rounded shapes are opposed to the breaks and graphic tensions of the strokes of the capital letters. which gives it an enormous originality. Generous doses of internal whites, assure a powerful legibility even with the spite of its short ascending and descending strokes. What we get is a coherent and martial look where fluidity and homogeneity is the main note. Soft and rounded minuscule, with large internal whites for super legibility, bombproof, especially on screens, where Geodeco lives with an astonishing naturalness. The capital letters, used alone as display, or as companions of the minuscule characters, give the family a touch of originality and exotic flavor. Like the spices in the food; a brief but intense note. Breaking the rectangular shapes so that the appearance of the letter comes out benefits from enlarging the internal whites and making them consistent with the white of the lower case. GeoDeco works very well in plain text with the obvious limitation that it is not a type for small bodies, but exceptionality weldon for plain text and signage. Maximum visibility, total beauty on screens. A family of this new century with the flavour of that epoch of experimentation that were the years 20. Extensive multilanguage support and almost all Opentype functionalities. Try it and it will convince you - for sure!

“Luxury in simplicity”. A Family of Luxury Fonts called Fulgate. A Hype of summer themed bring us to expressing a thirsty of creating a product that can help you to choosing a fonts to your creations. Like as we are on the preview above, how the fonts can "stands" within your design. Since Fulgate are created on a 6 weight from Thin, Light, Regular, Medium, Semibold, Bold. You won’t be worried which one to fit to your creative design. Also, You can Mix it up all of it without worrying design collision. Fulgate also comes with opentype features. The one was stand out was Capital Swash, it’s replacing the First letter that typed on Capital. even if you are type with all caps, it still stand out. If you think that all caps are not quite fit, write on with lowercase and turn on the features of Small Caps, a shape of capital but with lower heights. Lowercase also have a few make up with Alternate Characters, just to be noted, not all lowercase characters have an alternates, to keep a luxury feel and avoiding messy. The last are a feature on the numerical, Ordinals, Subscript, Superscript, and Fraction.

Montague Script takes its name from a small hilltown of western Massachusetts rich in culture and history. I lived in this beloved community for a number of years and it’s where I first began my study of calligraphy and lettering. While most brush scripts take their cue from mid-twentieth century samples, Montague Script is a fresh, contemporary alternative. It comes directly from lettering written with a #3 sable brush on smooth vellum and is digitized with the same sensibility a lettering artist writes with. Montague reflects a dynamic interplay between form and rhythm not usually associated with type. Words suggest a baseline, yet are not bound by it. Beginnings, endings, alternates and ligatures come in as needed while you type. Many more alternates are available in the glyph palette of most current graphic software. Exuberant swash versions of upper and lowercase letters, as well as ligatures can be accessed through both the type and glyph palettes. Montague Script is a natural for advertising, point of purchase displays, packaging and logo design, cards, invitations, journals and much more. You will be delighted at how well it can dress up a project and how easily it sets.

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

'HU Malrang' is a font that gives a round and soft feel to its tightly packed modules. This font has a variable function, allowing users to fine-tune the thickness they want. (Available only in Adobe programs.) Six basic weights are provided so that they can be used even in programs that do not apply the variable function.

Axelby JNL was modeled from a set of die-cut, self-adhesive cardboard letters from the 1960s. The design is reminiscent of some early wood type in the way it has letters of varying widths that do not conform to any set standard. The font is perfect for plain, easy-to-read and attention-getting headlines.

Tequila… I have to admit that I am not a drinker. I do like Tequila, though, even though I can’t remember when I last had a shot. Tequileria is a very recognisable inline display style font. It would look great on posters and book covers, packaging and even bottles (with or without tequila). Comes with an abundance of diacritics.

Four letters for this font came from a puzzle in a 1983 Games magazine. After seeing them, I could not resist the temptation to do a complete set of letters made from push pins or tacks, a truly tacky font. Most of the letters on the lower case keys are alternatives--choose the one works best for your purposes.

Introducing Retro Pica, a bold and fun display font. Retro Pica features a bold retro style with many alternate characters ideal for design, such as posters, t-shirts, branding, logos, etc. Retro Pica Lite, with this style, we replaced the uppercase character with the alternate version for those who use applications that do not support open-type features.

Based on informal handwriting. For use in advertising and display typography. Part of a Handwritten Set that includes 12 fonts carefully selected to represent various styles of writing. These fonts will expand your design capabilities by adding a personal touch to your computer typography.

Based on informal handwriting. For use in advertising and display typography. Part of a Handwritten Set that includes 12 fonts carefully selected to represent various styles of writing. These fonts will expand your design capabilities by adding a personal touch to your computer typography.

Brastagi Signature is a beautiful signature writing font. Its casual charm makes it seem incredibly simple, easy to read, and, ultimately, incredibly versatile. Brastagi Signature will look amazing in any context, whether it's used in a busy background or as a stand-alone title!

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. Big flourish and elegant script! There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

FunTrace is font prepared to make it easier to teach children to recognize letters, numbers and practice writing. Designed to consist of 6 sub-families of fonts (Regular, Bold, Dashes, Directions, Outlines, and Guide Lines) supports the child's learning process in a fun way.

Based on informal handwriting. For use in advertising and display typography. Part of a Handwritten Set that includes 12 fonts carefully selected to represent various styles of writing. These fonts will expand your design capabilities by adding a personal touch to your computer typography.

Bright Love is a modern script font created especially for Valentine’s Day. Also, with this font you can make your writing and branding look elegant and beautiful. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

Mustine is a natural handwritten font, a beautiful writing font with natural line movement that makes it beautiful and majestic. This handwritten font is perfect for covers, watermarks, branding, names, business cards, products, logos, etc. – Font feature Uppercase, Lowercase, Numerals & Punctuations, Ligature, Swashes, Multilanguage