Rodeqa Slab 4F Bold Font supports at least 136 languages listed below.

Rodeqa Slab 4F Bold Font Language:

Afrikaans, Albanian, Alsatian, Aragonese, Arapaho, Aromanian, Arrernte, Asturian, Aymara, Basque, Belarusian (Lacinka), Bislama, Bosnian, Breton, Catalan, Cebuano, Chamorro, Cheyenne, Chichewa (Nyanja), Cimbrian, Corsican, Croatian, Cyrillic, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, French, French Creole (Saint Lucia), Frisian, Friulian, Galician, Genoese, German, Gilbertese (Kiribati), Greenlandic, Guarani, Haitian Creole, Hawaiian, Hiligaynon, Hmong, Hopi, Hungarian, Ibanag, Iloko (Ilokano), Indonesian, Interglossa (Glosa), Interlingua, Irish (Gaelic), Islandic, Istro-Romanian, Italian, Jèrriais, Kashubian, Kirundi (Rundi), Kurdish (Kurmanji), Ladin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgian, Malagasy, Malay (Latinized), Maltese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Northern Sotho (Pedi), Norwegian, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Quechua, Rhaeto-Romance, Romanian, Romansh (Rumantsch), Rotokas, Sami (Inari), Sami (Lule), Sami (Northern), Samoan, Sardinian (Sardu), Scots (Gaelic), Serbian, Seychellois Creole (Seselwa), Shona, Sicilian, Slovak, Slovenian (Slovene), Somali, Southern Ndebele, Southern Sotho (Sesotho), Spanish, Swahili, Swati/Swazi, Swedish, Tagalog (Filipino/Pilipino), Tahitian, Tausug, Tetum (Tetun), Tok Pisin, Tongan (Faka-Tonga), Tswana, Turkish, Turkmen, Turkmen (Cyrillic), Turkmen (Latinized), Tuvaluan, Ulithian, Uyghur (Cyrillic), Uyghur (Latinized), Veps, Volapük, Votic (Cyrillic), Votic (Latinized), Walloon, Warlpiri, Welsh, Xhosa, Yapese, Zulu.

Rodeqa Slab 4F Regular Font supports at least 136 languages listed below.

Rodeqa Slab 4F Regular Font Language:

Afrikaans, Albanian, Alsatian, Aragonese, Arapaho, Aromanian, Arrernte, Asturian, Aymara, Basque, Belarusian (Lacinka), Bislama, Bosnian, Breton, Catalan, Cebuano, Chamorro, Cheyenne, Chichewa (Nyanja), Cimbrian, Corsican, Croatian, Cyrillic, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, French, French Creole (Saint Lucia), Frisian, Friulian, Galician, Genoese, German, Gilbertese (Kiribati), Greenlandic, Guarani, Haitian Creole, Hawaiian, Hiligaynon, Hmong, Hopi, Hungarian, Ibanag, Iloko (Ilokano), Indonesian, Interglossa (Glosa), Interlingua, Irish (Gaelic), Islandic, Istro-Romanian, Italian, Jèrriais, Kashubian, Kirundi (Rundi), Kurdish (Kurmanji), Ladin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgian, Malagasy, Malay (Latinized), Maltese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Northern Sotho (Pedi), Norwegian, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Quechua, Rhaeto-Romance, Romanian, Romansh (Rumantsch), Rotokas, Sami (Inari), Sami (Lule), Sami (Northern), Samoan, Sardinian (Sardu), Scots (Gaelic), Serbian, Seychellois Creole (Seselwa), Shona, Sicilian, Slovak, Slovenian (Slovene), Somali, Southern Ndebele, Southern Sotho (Sesotho), Spanish, Swahili, Swati/Swazi, Swedish, Tagalog (Filipino/Pilipino), Tahitian, Tausug, Tetum (Tetun), Tok Pisin, Tongan (Faka-Tonga), Tswana, Turkish, Turkmen, Turkmen (Cyrillic), Turkmen (Latinized), Tuvaluan, Ulithian, Uyghur (Cyrillic), Uyghur (Latinized), Veps, Volapük, Votic (Cyrillic), Votic (Latinized), Walloon, Warlpiri, Welsh, Xhosa, Yapese, Zulu.

Tinuë Road is a clean serif font. Great for simple, yet distinctive, headings, bylines or content.

This font is a looking like manual slab serif style. The “Pro” version is containing West (including Celtic) and North European, Icelandic, Baltic, Eastern, Central European, Turkish, and CYRILLIC specific characters, plus old-style numerals and standard ligatures.

Originally a conceptual approach from the Chatype project of Jeremy Dooley and Robbie de Villiers, Quatie Font has been restructured to add a new industrial element to Insigne’s offerings.

Like the Official Font of Chattanooga, Tennessee, Quatie definitely carries a contemporary, hipster feel.

Quatie similarly draws much of its inspiration from the industrial brawn of the railroad and the unique characteristics of Cherokee letterforms, giving it an atypical form not usually found in an industrial slab.

While the Quatie concept was originally set aside for the more technological look of Chatype’s final image, Jeremy revived this face from its dormant state and refined it for its commercial release in 2013.

This bracketed slab with its slightly rounded, soft edges adds a warm, retro, industrial element to Insigne’s offerings.

The resulting quirky, “hipster” vibe of Quatie lends its voice to give an unparalleled edge to your designs.

Introducing Cabrito Font: After my son was born, Cabrito Font I found myself reading him a lot of books.

Cabrito Font A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something that only I could make.

In short, Cabrito Font I realized my son needed to be indoctrinated–I mean, introduced into the wonderfully wild world of fonts.

So, Cabrito Font I set about to make a board book to teach about typography, called “The Clothes Letters Wear.”

You can learn more about the book here, and pledge to receive a copy on Kickstarter. Cabrito Font I’ve made the captivating illustrations bright and colorful, and the use of different letter forms makes for a fascinating read to delight ages young and young at heart.

And, Cabrito Font as an added bonus, this children’s book has a custom-designed Cabrito Font. I’m always looking for an excuse to design a new font, and this book created the perfect alibi.
Drum roll, please.

I now give you . . . Cabrito (“little goat” en Espanol). This new serif typeface incorporates the latest research on typographic legibility for children, features to make it–well, extra legible. A little background: studies show that Bookman Old Style is one of the most readable typefaces, and as a consequence or perhaps the reason why it is used thoroughly for children’s books.

Cabrito Font became my initial inspiration for the typeface. Then, I found more legibility research saying that (brace yourselves) Comic Sans is also very legible for beginning readers, much due to the large x-height and softer, easily recognizable forms.

In addition, forms that are closer to handwriting also seem to be more legible. Once I threw all that into my cauldron and stewed it a bit, the result was a pleasantly rounded typeface that includes not-so-strictly geometric, handwriting-inspired forms for the b, d, p, and q. Es guapo!

Cabrito’s slender weights are simple and fun, with extras that turn any “bah humbug” into a smile. Add lighter touches to your project with the typeface’s included sparkles or rainbows (not included).

Splash a little more color on the page with the firmer look of the thicker weights. Cabrito’s upright variations across all weights are matched by optically altered italics, too, giving you even more variety with the font family.

This modern typeface’s bundle of alternates can be accessed in any OpenType-enabled software.

The fashionable options involve a significant team of alternates, swashes, and meticulously refined aspects with ball terminals and alternate titling caps to decorate the font. Also bundled are swash alternates, old-style figures, and small caps.

Peruse the PDF brochure to check out these options in motion. OpenType-enabled applications like the Adobe suite or Quark allow comprehensive control of ligatures and alternates. This font family also provides glyphs to aid a variety of languages.

Cabrito Font is a welcoming, everyday font family by Jeremy Dooley. Use it to convey warmth and friendliness on anything from candy and food packages to children’s toys, company IDs, or run-of-the-mill promotional material.

Cabrito Font’s unique appearance and high legibility make it equally at home in print as it is on a screen.

The name’s Heironymous Flask. Some of my acquaintances call me ‘Hip.’ Those that know me really well don’t call me at all.

In my game, you don’t make friends. You make excuses. Like it says on the door, I’m a private hippopotamus. This is my story. This is my font.

The name Saluzzo Font is given to this font in honor of Giambattista Bodoni (1740–1813). Bodoni was born in the town of Saluzzo, Parma, Italy, and died at the age of 30.

Saluzzo is a contemporary interpretation of Bodoni, retaining its elegant thin serifs and contrasted with heavy downstrokes.

What makes Saluzzo unique is that it was approached from a calligraphic point of view. Also unique in this interpretation is the fact that it is a stencil.

Saluzzo is a great choice when you need a font that is contemporary, timeless, and distinctive.

Perfect for Advertising, Corporate identities, and Packaging design, Fashion, Technology, Hospitality, Travel, and Retail applications.

Saluzzo Regular Opentype is a Stencil font that is Contemporary, Distinctive, Elegant, and Timeless.

Maker, the font, pays homage to the Maker constructivist culture. Especially the sparked community interaction, and exchange of ideas through social meetings in shared spaces.

With Maker, you have hints of a Gothic minuscule heritage and pixel components that are carefully constructed into a discreet stencil font.

The result is a fresh, contemporary, and well-grounded font that will shine in any technology or arts-related environment.

Champloo Serif Font is a very unique typeface that combines serif features and brush strokes. Some letters have serif, but some don’t. Serif to be found on the left side of stem only.

It gives a quirky impression on short text. However the larger the text becomes, the more consistent look it gets as a whole.

These two versatile weights let you play with the typeface freely and beautifully.