Sohail Orozco

Grobek is a serif typeface inspired by Garamond and American Typewriter fonts as well as classic 15th century typefaces. Its main features are a diagonal stress and soft curved teardrop shape terminals.

Grobek comes in 8 weights, from Thin to Heavy, with matching italics- 32 styles in all. The font consists of 2 subfamilies: the basic family is classic yet contemporary while the alternative version has a stronger personality and allows more design freedom.

Grobek is ideal for short text and paragraphs, and specially designed for logos, branding, editorial design and web use. This font contains 576 characters that support over 200 Latin-based languages.

Be Kind is a sweet and simple handwritten font. Its friendly feel makes this font incredibly versatile, fitting a wide range of contexts. Add it to your creative ideas and notice how it makes them stand out!

Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use.  The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen.

Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Derivation is a cute handwritten font. It’s playfulness make it great for creative projects, be it inspirational wall posters or for communicating your brand.

Search is a brush script font, seasoned with unconventional choices here and there – ‘Hey, they are everywhere!’, one may say, and that’s okay. This is a contemporary upbeat font with loads of personality and yet some alternates: there are two choices for each letter, delivering that nice, organic, tasty handmade feel. Available in two flavors: with and without a dry brush texture.
Isn’t it what you’ve been searching for? We bet! Cheers!

Introducing, our latest product, Hallmarks!

Hallmarks beautiful calligraphy font with swash. This font will add a feminine touch to make your design more soft and beautiful. This font is perfect for wedding invitation, quotes, branding, packaging, etc.

What will you get:
- Hallmarks (TTF/OTF)
- Including number and symbol.
- Support Multi Language

This font also support PUA Encoded! So, grab your own. Thank You!

Christmas Day is a simple and thin lettered handwritten font. Its natural and unique style makes it incredibly fitting to a large pool of designs.

A sophisticated text typeface, Kaius Pro is an academic. Specialised for text in small sizes and complex layouts, Kaius is capable of handling demanding structure, language and character requirements with ease.

Kaius is not just a fresh alternative to classic text typefaces. With a generous x-height, open apertures and wide round letters, it’s also extremely readable. Sharp vertical serifs emphasise Kaius’s rhythm and are finely balanced with sturdy baseline serifs, which are so important for legibility. Together, these features create a reliable text structure.

Kaius combines analytical thinking with a modern exterior. The typeface’s outlines have more curved than straight lines, giving it an unconventional appearance close up. Zoom out, and Kaius brings a fresh feel to longform reading. Distinguished in distinction, Kaius is equipped with small caps, italics and 16 weights to style, structure and clarify complex information at every scale.

From the narrow, low contrast Hairline, to the softer, rounder Black, Kaius’s sixteen weights are complemented by lively italics. Their even rhythm and comparatively slight angle are contrasted by expressive cursive letterforms. Used in upright text, they harmonise; neither standing out too much nor blending in.

Whether all caps text, arbitrary fractions or tabular-ranging figures, setting five dot punctuation or accessing rare symbols like interrobangs and manicules, typographic excellence is no challenge for this scholar of complexity.

Kaius’s love of books makes it a friend of fine typography. Kaius expertly selects the correct dashes and quotation marks for different languages and has sets of punctuation and symbols carefully refined for use in uppercase and small-cap texts.

And Kaius is a linguistic enthusiast. Along with Greek and Cyrillic, it supports almost every language that uses the Latin alphabet, from Icelandic to Vietnamese. It’s attentive to localised forms, supports ancient Greek and historical Cyrillic letters, and is well-versed in the International Phonetic Alphabet and the many special characters used in academic and lexical typography. All in all, Kaius’s character set covers an extensive 2,500 glyphs. Whatever you might need, Kaius covers it.

Wood Clarendon JNL is based on Hamilton Clarendon Condensed (circa 1899) and is available in both regular and oblique versions.

The design of this typeface retains many of the charming (but slight) design irregularities often found within pantograph-cut wood type from the 1800s through the early 1900s.

Every exit is an entry somewhere else. It’s a quote by British playwright Tom Stoppard and I really like it!
Exit strategy is a rough brush font, which I made using Chinese ink (where would I be without my Chinese ink??) and the new batch of French paper I bought.

Use this font to highlight all that is important, stick it on posters, slap it on book covers - it will definitely do the trick!

The extra bold sans serif stencil lettering on movie posters and lobby cards for “Reform School Girl” (a 1957 film by American International Pictures) was the basis of Reform School JNL, which is available in both regular and oblique versions.