Newzone is Sport Display Sans font. It look manly, classy and strong.
Newzone font is suitable for any design needs : technological, sport, fashion, modern branding, modern advertising, print identity, magazine, website, mobile application and more.
Thank you,
Typia Nesia Studio
Hello, looking for a new elegant sans font with classy and modern feels ?
Amaryllis Sans font is perfect for your up coming projects. Such as logo branding, editorial design, stationery design, blog design, modern advertising design, card invitation, art quote, home decor, book/cover title, special events ( wedding, birthday, etc ), and any more.
That's it! Have fun with Amaryllis Sans Font. Thank you!
Typia Nesia Std
Super charming and super cute, Chicken Noodle Soup is the perfect handwritten font that gives off a casual, happy-go-lucky vibe. So fun! This font is great for birthday party invitations, social media graphics, posters, and anything else that would benefit from this font's uneven baseline and legible handwritten look that's great for both headline and body copy.
Includes:
- All uppercase
- All lowercase
- Numerals and punctuation
- European language characters
Enjoy!
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For more of my work, check out my website: http://www.wedgienet.net
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Sagitty List handwritten font with new style, this font will perfect for many different project ex: quotes, logo, blog header, poster, banding, fashion, apparel, letter, invitation, stationery, etc...
FEATURES:
Sagitty List (OTF & TTF)
Thanks for looking :)
-But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year.
While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often.
Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city.
Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes.
My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays.
However, the font turned into something more interesting: I realised it had enough potential to stand-alone.
Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form.
Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities.
In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations.
Selfie is part of the "Favorite Typefaces of the Year" list by Typographica.com (2015) :)
TIPS
Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays.
Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical.
Having the decorative ligatures feature (dlig) activated is a good option to see letters dance.
TECHNICAL
It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.
Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever.
People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot.
The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes.
Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright.
Preta Ao Sol Solo was made to be used as a layered font with Preta.
Finally, Preta Capitals serves as a company for Preta.
Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it.
Give it a try and dance with Preta!
TIPS
For better results, use Preta with the ‘standard ligatures’ feature activated.
Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully.
In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left.
My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me.
I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read.