Sarah Polyakova

Cheorcy, This font inspired by the famous logo is simple but classy perfect for logotype, apparel, branding, packaging, very good for combining your design work with a clear line with several different weights that are very comfortable in the design area you are easy to read and as title, magazine, label, advertising and anything elegant. This typeface is comes in uppercase, lowercase, punctuations, symbols & numerals, ligature. Also support multilingual

What's Included :

• STANDAR GLYPSH
• LIGATURES

Ergibi Studio

A font perfect for not just one, but many projects! Introducing Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans!

Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use.

Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights.

We've tested Oceanwide for these industries, with stunning results!:

• Tech
• Arts
• Fashion & Style
• Business & Branding
• Corporations
• Logistics
• Architecture
• Food
• and many more...

Oceanwide can be used for:

• Headers
• Subheadlines
• Logos
• Even body text, if tracked.
• Print & Screen

The styles it can take are also many. It's great for:

• Modern/minimalist design
• Flat design
• Cut out design
• User Interface (UI)
• Technical designs
• In combination with text effects, even for grunge and other situations.
• And many others...

DESIGN FEATURES

• Simplicity
• Tall x-height
• Hand-sloped obliques (italics)
• Narrow spacing
• Semi-wide proportions
• Expert kerning
• Well proportioned, usable lights & extra lights
• Large caps
• Great ALL CAPS MODE
• Uppercase punctuation
• Uppercase spacing with California Type Foundry’s Smart Tracking™
• Advanced fraction support
• Proportional lining figures
• Thick joins
• Smooth curves
• Sturdy—great for textures and effects
• Variable font available
• Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide!

DESIGN STORY—THE FORGOTTEN SANS

by Dave Lawrence, Lead Designer, California Type Foundry

Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans!

It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year.

Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes.

Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections.

Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after.

My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u.

Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted.

Fourth, I extended the weight into the light and extra light ranges.

Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration.

Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.”

The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple.

Hopefully this font is a worthy successor to the font that inspired it.

Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer.

———————

Simplicity. Versatility. Oceanwide.

A font perfect for not just one, but many projects! Introducing Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans!

Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use.

Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights.

We've tested Oceanwide for these industries, with stunning results!:

• Tech
• Arts
• Fashion & Style
• Business & Branding
• Corporations
• Logistics
• Architecture
• Food
• and many more...

Oceanwide can be used for:

• Headers
• Subheadlines
• Logos
• Even body text, if tracked.
• Print & Screen

The styles it can take are also many. It's great for:

• Modern/minimalist design
• Flat design
• Cut out design
• User Interface (UI)
• Technical designs
• In combination with text effects, even for grunge and other situations.
• And many others...

DESIGN FEATURES

• Simplicity
• Tall x-height
• Hand-sloped obliques (italics)
• Narrow spacing
• Semi-wide proportions
• Expert kerning
• Well proportioned, usable lights & extra lights
• Large caps
• Great ALL CAPS MODE
• Uppercase punctuation
• Uppercase spacing with California Type Foundry’s Smart Tracking™
• Advanced fraction support
• Proportional lining figures
• Thick joins
• Smooth curves
• Sturdy—great for textures and effects
• Variable font available
• Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide!

DESIGN STORY—THE FORGOTTEN SANS

by Dave Lawrence, Lead Designer, California Type Foundry

Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans!

It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year.

Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes.

Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections.

Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after.

My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u.

Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted.

Fourth, I extended the weight into the light and extra light ranges.

Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration.

Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.”

The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple.

Hopefully this font is a worthy successor to the font that inspired it.

Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer.

———————

Simplicity. Versatility. Oceanwide.

Quarkwell™ by The Typeworks is a line based typeface ideal for use in designs that require a modern and highly legible appearance whilst still retaining a classic feel.

The Quarkwell font family is inspired by lettering from twentieth-century pantograph engraving machines. The letterforms give a nod to the signature copy sets used on many computer mechanical keyboard keycaps and vintage typewriters, plotter engraved plastics signage fonts and others using modified Gorton lettering.

Quarkwell font faces include many stylistic alternates for its uppercase and symbols characters sets. Need a different "Q" design? Use access all alternates or insert symbol to select a different "Q" form!

Vector lines for plotting machines are also available to purchase on request at TheTypeworks.com

So take Quarkwell home today! It's a perfect fit for all sorts of projects.

Vinho De Amora is a truly vintage serif font. 

Drawn by Mans Greback between 2019 and 2021, this font is created with inspiration from wine cellars, painted typography and genuine quality produce. 

It has a distinct sharp character, steady legs and a bold and wide appearance. 

The Vinho De Amora family consists of three styles: Black, White and Stencil; each one geometrically consistent and complimenting, perfect for stacking on top of each other to create more variations. 

The font is built with advanced OpenType functionality and has a guaranteed top-notch quality.

It has extensive lingual support, covering all European Latin-based languages. 

It contains all characters and symbols you'll ever need, including all punctuation and numbers. 

BRIGNELL SUNDAY is an eight font family designed by Ian Brignell.

A relaxed, easy-reading companion for any day of the week.

A clean, modern, friendly sans serif characterized by an open style with occasionally rounded corners, occasional curved junctures on diagonals and a slightly sloped lower case A. Brignell Sunday was born in 2006 and was inspired by corporate custom font ideas Ian designed for an LG Electronics sub-brand called Best Shop. Extended Latin set.

Huai and Huai Thai marks the first professional typeface release by Potch Auacherdkul and represents the culmination of research into the duality of influences between handwritten, vernacular Thai lettering and Latin typefaces. The result is a warm, expressive typeface that doesn’t abandon the human hands and the language that produced them.

With Thai script, there are two different terminal styles—the Loop terminal style, associated with the original forms of Thai glyphs; and the Loopless, which has evolved to best coordinate with Latin sans serif typefaces. In recent years, this Thai Loopless style has continued to influence and even change to become ‘more Latin.’ One would go so far as to define these heavily Latin-influenced typefaces as Thai Latinized. This curiosity with shifting influences,  turns the idea around and explores what would happen if the vernacular Thai scripts actually influenced their Latin counterparts instead.

An Inversion of Thai Latinized is the result. The street signs of Bangkok, local vernacular writing, quick, fluid strokes… these influences form the DNA behind the Huai Thai typeface. Refining and systematizing those natural, handwritten strokes into a Thai typeface and then using those solutions to serve as the pioneer proportions behind the development of its Latin script companion was the product. Huai adopted the essence of these Thai glyphs into the Latin and uniquely embraced the contemporary writing system (and soul) of the Thai people in its letterforms.

Introducing, Handkick!

a smooth and silky handwritten font. handkick is equipped with multilingual support, ligature, and also a swash underline. To access swash you only need to type "_1" - "_3". Handkick is very suitable for various design needs such as merchandise, packaging, social media, ads, T-shirts, logos, events, and many more.

Thank you!

Almarose is a geometric sans serif OpenType font designed by Fanny Coulez and published by S&C Type. Functional with a little distinctive touch, Almarose comes with 9 weights with italics, from Thin to ExtraBlack, and was designed for all uses like texts, web or headlines. Merci beaucoup.

Kingbirds! The 6 styles of monoline script! Tired of ordinary monoline script? Now we are proudly presenting you a one-of-a-kind monoline script that has six styles of monoline which will satisfy all your design needs. Playful theme? Elegant theme? Vintage theme? you name it. This typeface comes with many opentype features such as ligatures, stylistic set alternate, etc and also support multilingual. You also will get ready to use logo template that you can edit the text easily.

Made you look? There’s a peculiar feel to the letters – achieved by the reversed contrast. Perfectly legible yet there’s something about the characters that makes them stand out. As Viktor Shklovsky once coined, ”Habitualization devours objects” – the everyday world becomes invisible until we are forced to see it otherwise.

The Portland font family is a tool of choice when you want to effortlessly make your designs stand out.

Tamitsa is a condensed display sans font. The font is universal and can be used in different directions of graphic design - Internet, printed materials, clothing, logos, posters, labels, navigation and more. Thanks to character compression, you can place a large amount of information in a compressed space. It will read equally well in large and small sizes.

Tamitsa contains 4 fonts: 2 regular and 2 slanted.

Royal Stamford is a classy handwriting font with a distinctive curve, inside with some interesting features that are perfect for an authentic-style project . This font is perfectly suited for signature, stationery, logo, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design and more. This handwritten script font contains upper and lowercase characters, numerals and punctuation.It includes Contextual Alternates, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Swash. Features: - Basic Characters ( Uppercase and Lowercase, Numerals, Symbol and punctuation ) - Contextual Alternates, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3 - Ligatures - Multi-Lingual support - Swashes - PUA Encoded How to get access alternate glyphs with designing software to open type fonts, click here.