Agnes Avdeeva

Zoya is a humanist sans serif typeface, a versatile font family that stands out with it's warm and natural feel. Humanist sans serifs have roots in calligraphy, their round, dynamic, open forms have higher stroke contrast than the other sans serif classifications. Can be used by any organization that wants to appear simultaneously modern, approachable, active and professional.

FEATURES

Four weights + Bold Outline / Italics / Numbers & Punctuation / Extensive Language Support / Long term

support, free features and bug fixes

The font family includes 10 fonts

• Zoya Light - delicate and edgy
• Zoya Bold - strong but approachable
• Zoya Regular and Semi Bold are the balance between the two
• Zoya Bold Outline - engaging

+ Italics

USE

Strong capitals and a smooth, open lowercase are effective in a variety of applications. This font is perfectly suited for headlines, posters, branding, packaging, presentations, logo, quotes, titles, magazines headings, web layouts, advertising, invitations, packaging design, books, and nearly any creative design.

Bold Future is an extremely heavy font. It has numerous interesting characters, with the counter and aperture giving it a unique personality. Ideal for enormous titles, publicizing, naming, bundling and anything that needs a major, significant typeface.

Introducing Glory Mathilda! An energetic brush stroke fonts.

With two sets of all-caps letters, Glory Mathilda can support your creativity on your logo design, brand imagery, quotes, merchandise, product packaging, music projects, social media posts, etc.

Glory Mathilda also has ten swashes that you can access in each alternative letter A-J.

That's it! I hope you enjoy it.

You can also say hello to me on Instagram: https://www.instagram.com/atharuah_

Thank You!

Introducing Glory Mathilda! An energetic brush stroke fonts.

With two sets of all-caps letters, Glory Mathilda can support your creativity on your logo design, brand imagery, quotes, merchandise, product packaging, music projects, social media posts, etc.

Glory Mathilda also has ten swashes that you can access in each alternative letter A-J.

That's it! I hope you enjoy it.

You can also say hello to me on Instagram: https://www.instagram.com/atharuah_

Thank You!

Introducing Battina - Inspired by typeface on 70s era, Battina has the vintage font & retro font style.

with 2 font style, It's super easy to use 3D effect with Battina family font.

Two style Font: Regular & Extruded

Battina is perfect for children product, branding, logo, invitation, stationery, product packaging, merchandise, monogram,

blog design, game titles, cute style design, Book/Cover Title and more.

Features :

- Battina Extruded

- Battina Ending Swash

- Ligatures

- Multilingual Support 

- Made it into separated file to make it easier to use by beginner & separated file user can use the font with software which doesn't accept open type features.

Hello, introducing a vintage style all caps typeface "Dusky Slab". It's a seventies style font with bold serifs and reverse contrast inspired by western hippie culture. Dusky Slab supports a lot of languages, including west european and cyrillic characters (check out all available symbols on the last screenshot).

Morrello is a bold retro decorative serif font with beautiful ligatures, tons of alternative glyphs and multilingual support. It's bold, groovy, clean and unique with vintage fell. Morrello is very versatile font that works great in large and small sizes. Helps to create layout design in 60s or 70s design projects.

Come with open type feature with a lot of alternates, its help you to make great lettering.

Morrello best uses for heading headlines, cover, poster, logos, quotes, product packaging, merchandise, social media & greeting cards and many more.

Introducing the Rough Motion Font Duo! Rough Motion is strong and high-energy font. Make it a balanced composition in a sans serif font and a brush pen in a script font to show the realistic elements of the font. This is a font that is suitable for you to use in all your creative needs. Such as branding, logos, posters, web design, music artwork, etc.

Each font file includes uppercase, lowercase, numbers, punctuation, and multilingual support.

Rough Motion Script also includes a set of 10 swashes, ideal for underlining individual words and adding that extra 'custom' style. You can access it in every alternative letter A-J.

That's it! I hope you enjoy it.

Feel free to comment if there are issues or queries.

You can also say hello to me on Instagram: https://www.instagram.com/atharuah_

Thank You!

Introducing Racerz - Sport Display with strong and Sport nuances. very suitable for the title, logo, typography, clothes, magazines, brochures, packaging and much more for your design needs, making your designs more modern and professional.

It's bold, chunky, and ready to make a big impression - Primed is an authentic, hand-drawn brush font made with real marker pens. Perfect for unmissable display text, logos, handwritten quotes, product packaging and more!

As well as a full alternate set of upper & lowercase characters, Primed also includes a set of 18 swashes, ideal for underlining your lettering and adding that extra 'custom' style. The alternates and swashes are included as their own separate fonts.

Primed also includes 47 ligatures, these double and triple letter combinations will help letters connect and flow more naturally. The ligatures will automatically generate when using the Primed fonts with most software.

The Primed fonts contain language support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

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.

Unison Pro is an extended sans serif typeface. The family includes 8 fonts with stylised caps and a rounded version for each. Unison has bold and light minimal extended glyphs making it great for headers, logos, posters, titles and much more. The stylised caps included allow users creative control for creating unique typography.

• 8 Fonts Total
• 4 Font Styles
• Stylised Caps
• Multilingual
• Over 1700 Glyphs

The story begin from Condensed, Standard & Expanded style. Saint Regus built and designed with a super family typeface in mind. Its still growing and growing by uniquely bold charismatic persona. The family itself have total 8148 glyphs with a standard glyphs and multilingual context.The possibilities are have a huge prospect in various design project, digital and print. Saint Regus development tried to explore the impact by its proportional display form.

The project started from a Standard weights (Roman) and then it become a big families with 21 styles that you can use for a large design assets in any kind of design works.

Features:

• 828 glyphs in 20 fonts

• 280 alternative glyphs

• 11 stylistic sets

• 15 OpenType features

Sublima is a modern neo-grotesque sans serif font designed by Mihai Sorin and published by Punchform in 2021. The family has 20 weights — 10 uprights and 10 italics — ranging from Thin to Black. The Light and ExtraBold weights are free of charge, so you can use them for both personal and commercial projects.

Sublima allows graphic designers to create advanced typographical layouts by offering 280 alternative glyphs and 11 stylistic sets.

Each weight includes extended language support and 15 powerful OpenType features such as stylistic alternates, contextual alternates, standard ligatures, glyph composition/decomposition, localized forms, case-sensitive forms, ordinals, proportional figures, tabular figures, slashed zero, numerators, denominators, fractions, superscript, and subscript.

Features:

• 828 glyphs in 20 fonts

• 280 alternative glyphs

• 11 stylistic sets

• 15 OpenType features

Sublima is a modern neo-grotesque sans serif font designed by Mihai Sorin and published by Punchform in 2021. The family has 20 weights — 10 uprights and 10 italics — ranging from Thin to Black. The Light and ExtraBold weights are free of charge, so you can use them for both personal and commercial projects.

Sublima allows graphic designers to create advanced typographical layouts by offering 280 alternative glyphs and 11 stylistic sets.

Each weight includes extended language support and 15 powerful OpenType features such as stylistic alternates, contextual alternates, standard ligatures, glyph composition/decomposition, localized forms, case-sensitive forms, ordinals, proportional figures, tabular figures, slashed zero, numerators, denominators, fractions, superscript, and subscript.

Features:

• 828 glyphs in 20 fonts

• 280 alternative glyphs

• 11 stylistic sets

• 15 OpenType features

Sublima is a modern neo-grotesque sans serif font designed by Mihai Sorin and published by Punchform in 2021. The family has 20 weights — 10 uprights and 10 italics — ranging from Thin to Black. The Light and ExtraBold weights are free of charge, so you can use them for both personal and commercial projects.

Sublima allows graphic designers to create advanced typographical layouts by offering 280 alternative glyphs and 11 stylistic sets.

Each weight includes extended language support and 15 powerful OpenType features such as stylistic alternates, contextual alternates, standard ligatures, glyph composition/decomposition, localized forms, case-sensitive forms, ordinals, proportional figures, tabular figures, slashed zero, numerators, denominators, fractions, superscript, and subscript.

Copyman is an experimental one for the creative ones.

Monumental & minimalistic, great for the contemporary & urban design, this font is a good choice for confident branding & logotypes as well as for brutal or futuristic interfaces.

Copyman’s title is an anagram for a Company. First of all, this font was created for branding purposes of businesses, who want something as practical as a little bit different from what they already get used to.

This chamfered typeface contains 8 styles, Regular & Italic, both Cyrylic & Latin, 287 glyphs, 8256 pairs, 119 groups, has well–balanced kerning & clever spacing.

The titles and credits from the 1960 French film “Le Passage Du Rhin” (English release title: “Tomorrow is My Turn”)” are hand made in a free form bold alphabet resembling both cut paper and quickly sketched lettering.

This avant garde style inspired the digital type revival, which is available in both regular and oblique versions.

Wonkyest is a handwritten script font, quirk and fun characters. It has Opentype features of ligatures and some lowercase alternate, makes it a perfect choice for branding and digital designs. Use this font for logos, social media, websites, blogs, instagram, social media, business cards, branding, and more! Wonkyest font support multilingual more than 100+ language. and good pair for your secondary text font with sans or serif. Make a stunning work with Wonkyest script font. 

Cheers,

MaulanaCreative