Sarah Polyakova

Kihim in a single-weight display typeface. It is grid-based design – and a very decorative one at that. All of its letterforms are set on an extreme angle. The ‘tops’ and ‘bottoms’ of each stroke reflect that angle, giving the typeface a ‘rotalic’ feeling, as if each letterform was rotated clockwise. Designed by Hitesh Malaviya, Kilhim is his interpretations of the late artist Nasreen Mohamedi’s drawings and photographs. Through the interplay of light and shadows, her work explored the creation and consumption of form. It featured highly structured grids, just like this typeface. Her work achieved a unique level of abstraction, in which simple marks caused grids to form and deform. In her photography, she concentrated on sparseness and shapes. Physical space occupied by the body was a point of departure for her. Beyond the body, there was the urban fabric of the city: the spaces created by walls, windows and intervals in architectural structures, through which people pass. Her almost mathematical placement of lines indicated a sophisticated handling of formal/aesthetic relations on the picture plane, and she carefully weighed the intervals between lines, releasing them onto the page with a rhythmic flow that alluded to musical notation. A lot of intriguing glyph repositioning happens with text set in Kihim, once OpenType features like ‘Contextual Alternates’ are activated. The font also has oldstyle figures as an optional OpenType feature, which is really quite an opulent extra for such an ornamental display typeface. With Kihim’s abstract letterforms and its use of diagonal lines, Malaviya pays homage to the rhythmic quality of Mohamedi’s oeuvre. Often, text in Kihim seems illegible or unrecognisable at first, before the reader starts to see through the rhythmic pattern of thick and thin lines: then one starts to se the written word. The Kihim typeface is named after the place where Mohamedi passed away in 1990, when she was only 53.

A new fresh, bold brush font from Nicky Laatz. Pink Lemonade is Sweet, Casual and curvy...with subtle brush texture left in- perfect for head-turning statements and eye-catching branding. Pink Lemonade includes 45 natural-looking Opentype ligatures - perfect for making your words look freshly lettered, and like less of a font. Try alternating between having the ligatures active and not active for an even more natural look. Pink Lemonade will work wonderfully for beauty, posters, music brands, magazines, cosmetics, cook books, culinary art, book covers, sporting brands, bold headliners, and websites. Enjoy more inspiration using all Nicky Laatz's fonts on Instagram - @nickylaatz.

Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading indicators of where the marketplace will move. Currently, many design mavens have an eye favoring reverse stress. However, these forms have largely failed to penetrate the marketplace, another major driving factor influencing the font world. Clients now (as well as presumably for the foreseeable future) demand the more conservative forms of monoline sans serifs. Typeface designers are left with a predicament. Variable typefaces hand a great deal of creative control to the consumers of type. The demands of type design critics, personal influences of the typeface designer and the demands of the marketplace can all now be inserted into a single font and adjusted to best suit the end user. Varidox tries to blend the extremes of critical feature demands and the bleeding edge of fashionable type with perceptive usability on a scalable spectrum. The consumer of the typeface can choose a number between one and one-thousand. Using a more conservative style would mean staying between zero and five hundred, while gradually moving higher toward one thousand at the high end of the spectrum would produce increasingly contemporary results. Essentially, variable fonts offer the ability to satisfy the needs of the many versus the needs of the few along an axis with a thousand articulations, stabilizing this delicate balance with a single number that represents a specific form between the two masters, a form specifically targeted towards the end user. Practically, a user in some cases may wish to use more conservative slab form of Varidox for a more conservative clientele. Alternatively, the same user may then choose an intermediate instance much closer to the other extreme in order to make a more emphatic statement with a non-traditional form. Parametric type offers a new options for both designers and the end users of type. In the future, type will be able to morph to target the reader, based on factors including demographics, mood or cultural influences. In the future, the ability to adjust parameters will be common. With Varidox, the level of experimentality can be gauged and then entered into the typeface. In the future, machine learning, for example, could determine the mood of an individual, their level of experimentality or their interest and then adjust the typeface to meet these calculated parameters. This ability to customize and tailor the experience exists for both for the designer and the reader. With the advent of new marketing technologies, typefaces could adjust themselves on web pages to target consumers and their desires. A large conglomerate brand could shift and adapt to appeal to a specific target customer. A typeface facing a consumer would be more friendly and approachable, whereas a typeface facing a business to business (B2B) customer would be more businesslike in its appearance. Through both experience, however, the type would still be recognizable as belonging to the conglomerate brand. The font industry has only begun to realize such potential of variable fonts beyond simple visual appearance. As variable font continues to target the user, the technology will continue to reveal new capabilities, which allow identities and layouts to adjust to the ultimate user of type: the reader.

This monospaced version of Galix was commissioned in 2037 by the space exploration company Earth2, as part of a major overhaul of their branding, which had used, since 2021, a generic sans serif (much like every other company). Many specialists in both design and space exploration suggested that this very rebrand started a chain of events that concluded with the invention of time travel in 2041. Contrary to the perceived notion put forward in popular Science Fiction, time travel is only (as of now) possible in the digital realm. It was considered fitting that included among the first files sent back in time should be the Galix Mono typeface, which was remade in OTF format to ensure that it would work with the technology available in 2019. Earth2, for all their insight, did not foresee that the release of the typeface in September of 2019, would lessen the impact of their rebrand. What kind idiots would rebrand a forward looking company with a font that was, by then, almost 18 years old? The subsequent lacklustre response to the redesign didn’t inspire the tidal wave of R&D funding Earth2 had anticipated, and the company went into administration in the summer of 2039, having never invented the time travel which made the release of Galix Mono in 2019 possible. Experts believe that the files sent back in time, although their very sending made it impossible for them to be sent, remained as “time relics” of the future that might have been.

Montine Script is elegant calligraphy font. This font is casual and pretty with swashes. Can used for various purposes such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes and more. Montine Script features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions.How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Montine Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app.How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you have any question, don't hesitate to contact me by email : chaidirgata@gmail.com Thanks so much for looking and Enjoy it!

Aromi is a modern and cool script font with amazing swashes. Use it to turn any design project into a standout! Just perfect for those who love to create whimsical collages, e-newsletters, web banners and quotes to skyrocket on social media, especially Pinterest! Have a great day! Thank you :)

Allison Tessa is gorgeous signature font and sans serif font with three variation regular, rough and stamp, as well as swashes. Allison Tessa perfect for poster design, book covers, merchandise, fashion campaigns, newsletters, branding, advertising, magazines, greeting cards, album covers, and quote designs and more. If you need anything else or you require an upgraded license please contact dedukvic@gmail.com

Marker is a basic handwritten marker doodle font. It's rugged and raw. There's no question it's handwritten. It's perfect for DIY themed projects and designs. The glyphs were all handwritten using an everyday marker. It was then digitized and converted into a font.

Alire is a cursive font and inspired from the famous retro typography design. It includes a total of 518 glyphs and includes several OpenType Features such as: Stylistic Alternates, Swashes, Ligatures, Contextual and Stylistic Set.

Numpty is a word of Scottish origin and means ‘someone who, by speech or action, demonstrates a lack of knowledge’. I use this word quite often (as this world, unfortunately, seems to be full of numpties). And guess what? Now you know what it means, you can use it too! Hooray! Numpty is a fat, rounded display font. A little uneven, a little weird, but with enough panache to make your designs stand out.

Antebas is a sans serif family with a geometric touch. Available in 16 styles from Thin to Heavy and it's matching italics. OpenType features such as fractions, ordinal, superscript, subscript, numerators, denominators and tabular figures are available. besides Latin letters, Antebas also supports Cyrillic and Greek letters.