Black[Foundry]

Absinthe is a typeface born from the Tavern, the creative and experimental wavy tool crafted by Gaëtan Baehr. This distinctive font draws its inspiration from the free-spirited, vibrant energy of the 1960s hippie era. Its design exudes a playful and fluid aesthetic, featuring rounded, dynamic shapes that feel both lively and indulgent. Absinthe dances across the layout with a whimsical rhythm, making it perfect for projects that embrace joy, nostalgia, and artistic expression. Absinthe is designed exclusively in capitals, allowing for optimized wave effects with the Tavern tool. To enhance its creative potential, the font includes a width variation axis and four corner axes—top-left, top-right, bottom-left, and bottom-right—that enable precise control over each letter's shape. These features make it possible to craft unexpected and visually striking effects. Whether you're designing posters, branding, or anything that calls for a touch of retro charm, Absinthe invites you to explore its groovy curves and unleash your creativity. Let the spirit of the 60s shine through with this bold, expressive typeface!

Algo FY is a singular font family with broken ductus and blackletter aspect. Clearly inspired by calligraphic shapes, each of the three weights have been especially designed as if the tool has changed. With its special articulations and its differentiated instrokes and outstrokes, Algo FY is a sculptural, rustic, primitive and dynamic font family. The alternating game between concave and convex shapes gives this typeface a spontaneous and unpredictable style, with a strong personality. Each weight shows finest details on each part of the letters. If there exist letters which are even more notable than others, you should have a look on the g with its short final curve or to the Black Q with its beautiful junction of its main part and its tail. Also the dots from i and j are different. Light and Regular are for text setting, while the Black style should be used for titling and headlines. Algo FY will fit with every project you want to give a strong and singular personality. Algo FY has been designed by Michel Derre, typographer, graphic designer and letterer at the begining of his carreer, who practices and teaches calligraphy since the eighties.

Amaretto is a typeface born from the Tavern, the creative and experimental wavy tool crafted by Gaëtan Baehr. Characterized by its high contrast and sophisticated design, Amaretto stands out as both classic and unconventional. The font offers two sets of capital letters: a traditional option for timeless elegance and an experimental set where circles seamlessly integrate into the letterforms. This unique feature brings an unexpected playfulness and originality to the typography, making it ideal for creating expressive and elegant lettering. Amaretto is designed exclusively in capitals, allowing for optimized wave effects with the Tavern tool. To enhance its versatility, the font includes a width variation axis and four corner axes—top-left, top-right, bottom-left, and bottom-right—providing precise control over each letter's shape. These features enable the creation of unexpected and visually striking effects. Perfect for branding, editorial design, or any project seeking a balance between refinement and artistic flair, Amaretto invites you to explore its atypical beauty and bold creative potential.

With sleek geometry and an uncompromising clarity, Ampere stands out with a refined, grid-like precision that speaks to its modern design ethos. At small scales, it remains legible and crisp, while at larger sizes it commands attention, making it ideal for both immersive reading and powerful headings. Ampere's unique character lies in its subtle yet striking features. Inside corners are softened with squared ink traps, a choice that tempers its sharp angles for a smooth, sophisticated finish without compromising on structure. Adding a spark to its utility, Ampere also includes a set of special "electric" characters inspired by its namesake, infusing a touch of energy into any project. Available in six finely-tuned weights (ExtraLight, Light, Regular, SemiBold, Bold, and Black), Ampere provides designers with flexibility across a spectrum of visual intensities. This flexibility is complemented by an imaginative spirit: Ampere offers a playful edge with its thoughtfully crafted electrical symbols. The font's ligatures also bring a sense of harmony, allowing for dynamic combinations that enhance readability and elevate the visual appeal.

Angus is a rounded typeface but is not the result of the rounding of an existing one. It was designed from the start with these very enjoyable round terminals and has grown to a family which includes five weights, from light to extra bold, with their matching italics. The family is multiplexed, which means letters share the same width from one style to another. This distinctive feature gives designers exciting opportunities to work and play with the different styles. It is really convenient when it comes to lay out content since text doesn’t reflow when changing font weight. Angus beautifully resolves this multiplexing design challenge and shows diversity across the family. Each style has a distinct look and conveys a very different feeling: texts set in bold weights look generous and playful whereas texts set in the lightest weights are softer and speak with a more serious voice. The typeface’s unique personality lies in its condensed proportions and monospaced look which bring a great balance between roundness and straightness. Round letterforms such as “c”, “o”, “b” and the single-storied “a” have flat sides making of Angus a rounded typeface that stands out. The whole family is approachable and joyful, especially thanks to some characteristic elements including the very short descender of the lowercase “j”, the curved ending of the lowercase “t” as well as the prominence of dots on lowercases “i” and “j”, visible in the light weight. These specificities are appealing in big sizes and bring great rhythm to the typeface when used in text sizes. Angus includes several ligatures such as “ri”, “rt” and “ir” which consequently improve word-shapes and contribute to an overall smoother visual aspect. With its cheerful look, Angus is a perfect match for any casual communication. It is particularly suited for projects related to entertainment and performs well on packaging and digital content.

Askr is a bold and extroverted typeface inspired by the dramatic strokes of Blackletter Textura. It has a prominent vertical rhythm with softened elements borrowed from Roman text typefaces, creating a dynamic and attention-grabbing visual experience. Askr is particularly suited for impactful headlines and titles where its presence can truly shine. Initially available in a Heavy weight, this typeface is perfect for designers looking to make strong visual statements. Askr is released alongside its sibling typeface, Embla. They both emerge from the same creative origin yet express distinct voices. Each bridges the aesthetic differences between Southern and Northern European writing styles in its own unique way. Askr features a Gothic flair with the softness of Southern European type styles, evident in its traditional angularity combined with asymmetrically-curved wedge serifs. It adds a subtle warmth into the imposing vertical presence of Textura through softened curves. Meanwhile, Embla evokes a cool visual aesthetic and subverts the inherent warmth of Roman type. It combines muscular curves with robust serifs atop a predominantly vertical structure reminiscent of Northern European writing traditions. The design is tailored for extensive text usage where clarity and ease of reading are paramount. Given contemporary reading habits, we have strategically introduced Askr in a Heavy weight ideal for large displays, while Embla's Regular weight is optimized for excellent readability at smaller sizes. Our vision is to expand the range for both typefaces from Light to Black, making them versatile across various design applications. This preliminary release is the Alpha version of Askr and Embla, allowing designers to experiment with them early on. We invite you to be a part of this journey as we work towards the full weight range in version 1.0, which will further highlight their complementary nature when used together.

Aubusson: a typeface blooming from the loom. Born from the brilliant imagination of Franck Jalleau and the meticulous craftsmanship of Black Foundry's designers. The original designer's vision for Aubusson was inspired by the iconic tapestries of the "Cité internationale de la tapisserie d'Aubusson" in France. He wanted to capture the essence of the grid-like patterns formed by the interwoven threads while infusing a sense of warmth and organic calligraphy-inspired shapes to reflect the artistery of the tapestries. The journey of Aubusson began with a deep exploration of the traditional tapestry art, where Franck Jalleau immersed himself in the delicate intricacies of its patterns and textures. This profound understanding allowed him to translate the essence of those exquisite threads into a monospaced typeface design. The challenge was to maintain the precision of monospacing while imbuing the characters with a humanistic touch, creating a truly unique and engaging experience. Black Foundry's designers masterfully expanded and refined the initial concept of Aubusson, developing a versatile multi-purpose typeface that spans from Light to Black on both Roman and Italic styles. The Black weight is meant for eyecatching headlines, exclusively available in Roman, and is not part of the variable font. This extended design space empowers users to convey a wide range of emotions and messages through their typographic expressions. Aubusson has been thoughtfully equipped with a generous glyph-set, catering to the needs of diverse languages using the Latin alphabet. Additionally, the typeface includes dingbats ornaments that add an extra layer of sophistication and beauty to any design. From display headlines to small paragraphs, Aubusson shines gracefully in various contexts, making it a versatile choice for designers seeking both elegance and functionality. With Aubusson, we invite you to embrace the rich tapestry of human expression, where history and innovation intertwine to create a typeface that will stand the We are humbled and excited to present this masterpiece to the world, and we genuinely believe that Aubusson will not only capture the attention of readers but also become an invaluable tool for designers seeking to elevate their creations. We hope you embark on this creative journey with us and explore the wonders that Aubusson has to offer.

Beaurencourt FY is an old-fashioned script font, inspired by 19th century handwriting. This delicate and font is developed in two weights, a regular version and a light one. Initially written at small size, Beaurencourt will also work at larger sizes where it reveals the texture of ink and paper.

When the AACC decided to undertake their rebranding, Aaron Levin, in charge of the project, asked Black[Foundry] to craft a unique typeface to match the ideas he had in mind for the visual identity of the organisation. Our Vesterbro font in its Poster weight already had hints of the desired output, but we brought more softness to it with ball terminals and made it more compact while retaining its striking boldness. The contrast between thicks and thins was increased and the glyphs were narrowed for tighter spacing. After several iterations we acheived the right balance between institutional/formal and creative/funky aspects, both being emphasized in the new AACC identity. Aaron's admiration for Herb Lubalin's work played a role in the design of the Blaacck typeface. Ligatures were added as well as engaging, almost ornamental punctuation symbols. The concept behind this typeface is also to enable super-compact typesetting both horizontally and vertically. For this reason, the lowercase x-height is fairly high, the accents are reduced to thin hairlines, and flattened on the capitals to allow for tight leading. We also increased the compactness by pushing some ball terminals into the letter-shapes (as seen in the 'r' or the 'f', 'J' and 'Q'). The Blaacck typeface, is a creative tool for designing striking headlines, and it covers a wide glyphs set including all the necessary accents for all European languages as well as Vietnamese, a set of arrows, alternates for 'r' and '&', ligatures, and dynamic fractions, as set by Black Foundry's standard.

Bluu Suuperstar is a brutalist serif typeface featuring very prominent triangular-wedges for serifs and terminals. In certain places, strokes have been “broken,” like in the upright fonts’ lowercase “a,” “g,” and alternate “r.” Any oddities within the design are still firmly within the canon of serif typography, including the crazy gamma-shaped alternate “r.” Bluu Suuperstar does not alter the expected rhythm of a Garalde-style typeface. The family’s lighter fonts are optimised to support long passages of text in applications intended to encourage immersive reading. The heavier styles are best used in large display sizes. Despite the initial appearance of some of its letterforms, Bluu Suuperstar is a masterful variation on the Garalde-style serif typeface theme. Even though that style of letter is a well that designers repeatedly turn to for inspiration, Bluu Suuperstar proves that not all of the results need look the same. Bluu Suuperstar’s letters have a tall x-height, and the diamond dots are a chief characteristic of the design. These aren’t only found on the “i” and “j,” but also in punctuation marks and diacritics, too. The lowercase “l” in each font includes a notch at the x-height on its left-hand side; this mimics the wedge-shaped serifs found at the tops of so many of the typeface’s lowercase letters, but it is also a nice nod to history. Notches like these are found in several blackletter designs; but most-famously in the “romain du roi” created for Louis XIV. Nothing in Bluu Suuperstar is soft or cuddly; this is a sharp typeface, and you could cut yourself on its letters. Even lesser-used characters like the fonts’ guillemots have energy; in Bluu Suuperstar, they look like folding knives, or bolts of electricity. Bluu Suuperstar’s italics have their own letter-construction model; they aren’t slanted versions of the upright letters. The result is calligraphic and dynamic, without referencing a particular typographic precedent. In the italics, the lowercase “a” and “g” are single-storied. Several italic letters include loops, like on the top-right of lowercase “k” or the bottom of “g” and “y.” The italic lowercase “f” has a descender – almost as if the letter had grown a tail.

Booster Next FY is a friendly round sans-serif typeface. Due to its large width, this family offers a good legibility in all text sizes for branding and editorial designs, but it’s also a perfect typeface for Web or other Screen Applications. To

Brillante shines bright! Brillante is a meticulously crafted typeface that shines a spotlight on the world of fashion, luxury, and jewelry. With its exquisite collection of 15 fonts, Brillante offers endless design possibilities. Embodying the elegance and allure of these industries, Brillante presents a range of styles, including Condensed, Normal, and Wide widths, and weights that span from delicate Thin to impactful Black. As a two-axis variable font, it empowers you with unparalleled creative freedom, allowing you to craft layouts that truly dazzle. Brillante captures the essence of brilliance in every aspect of its design. From the striking ‘V’ and ‘W’ letters with their distinctive spikes to the meticulously sharpened accents, each element has been meticulously considered. Notably, the letterforms of ‘K’ and ‘R’ elegantly adopt a delicate floral thorny aspect, adding a touch of sharp elegance that evokes the beauty of the world. With its high contrast style, and short sharp serifs, Brillante is tailor-made for captivating titles and stunning display purposes, particularly when used at larger sizes. The thin compressed style exudes a precise and incisive appearance. In contrast, the black normal width style embraces a welcoming and generous essence, perfect for creating designs that exude opulence. The short serifs enable tight spacing and lend a modern and edgy vibe. No matter the medium, Brillante will elevate your projects to new heights. Its extraordinary versatility and meticulous attention to detail make it an indispensable choice for a wide range of applications, including branding, editorial design, packaging, and luxury usage. Allow Brillante to cast its irresistible charm and sophistication upon your creative endeavors, infusing your designs with a radiant touch that captures the essence of the art of luxury. Experience the brilliance of Brillante and let its exquisite craftsmanship illuminate your designs with a touch of fashion-forward elegance.

Brillante Obsidian: A deeper meaning to your designs Brillante Obsidian, born from the refined Black style of the Brillante font family, delves into the interplay of dimension and illumination. It offers a gradient of shadows ranging from 0 to 100. This range of styles, including a shadowless font with elegant outlines and colors, as well as four levels of shadows that culminate in a powerful 3D effect, draws inspiration from the volcanic Obsidian stone aesthetics. It’s sharp serifs will add both visibility and style to any creative direction, and it’s unique ready to use shades will match compatible color palette. Use it with darker colors or way lighter: It will still work it’s magic! It is ideal for titling and headlines as it will create a great and impacting contrast between headlines and body texts. Sharing a structural foundation with Brillante Pearl, Brillante Obsidian is oppositely way darker and both versions embody duality. They beautifully contrast and complement each other, weaving a captivating narrative of light and shadow. Available in OpenType-SVG font format, this color font family is also software friendly! Easy to use, it works and integrates with pretty much any software!

Brillante Pearl: Voluptuous shapes and colors Brillante Pearl, born from the refined Black style of the Brillante font family, delves into the interplay of dimension and illumination. It offers a gradient of shadows ranging from 0 to 100. This range of styles, including a shadowless font with elegant outlines and colors, as well as four levels of shadows that culminate in a powerful 3D effect, draws inspiration from the iconic sea pearl aesthetics. Unlike it’s opposite Brillante Obsidian, Brillante Pearl already possesses duality within itself. It’s sharp serifs coupled with such soft gradients makes it a very singular font that will surprise anyone who will Brillante pearl works best with very light to pastel colors. Brillante Pearl is also ideal for titling and headlines to create a great and impacting contrast with body texts. Sharing a structural foundation with Brillante Obsidian, Brillante Pearl is oppositely way lighter and both versions embody duality. They beautifully contrast and complement each other, weaving a captivating narrative of light and shadow. Available in OpenType-SVG font format, this color font family is also software friendly! Easy to use, it works and integrates with pretty much any software!

Cæsura is a bold display typeface that draws from a rich blend of influences, seamlessly merging the stoic, structured forms of mid-century European signage with the fluid, expressive strokes of Japanese calligraphy. Available in a single Bold weight, it is crafted specifically for headings where its striking character and high contrast can take center stage. Cæsura’s design plays with exaggerated strokes and sweeping swashes, balancing rigid, upright structures with dramatic, knife-like cuts that slice through the glyphs, creating a dynamic tension that feels both timeless and distinctly modern. The currency symbols, for instance, feature sharp, tailored cuts that offer a contemporary reinterpretation of familiar shapes. This typeface embodies a fascinating duality in every detail. Its comprehensive glyph set covers a wide range of European languages and includes Vietnamese diacritics, making it versatile for various linguistic needs. Cæsura also features a playful collection of graphical discretionary ligatures, including distinctive combinations like the double "g," "gy," and "ks," adding an unexpected flair to the typography. To further enhance its expressiveness, Cæsura includes an alternate set of punctuation with diamond-shaped forms, pushing the boundaries of traditional design. With its unique blend of influences and versatile features, Cæsura is a perfect tool for creating captivating graphical layouts that stand out with sophistication and style.

Canberra FY is a contemporary and low-contrast serif typeface that shows legibility with personality. Its asymmetric and short serifs render a versatile look, always usable and friendly. As Canberra FY is very legible with its book style in small sizes, the charming bold and black are good companions for headings. This wide range of weights enables actual editorial use and hierarchical type-setting. Perfect for all types of communication materials, paper or web, pocket size or large format. Letters ‘a’, ‘e’, ‘g’, ‘v’, ‘w’ ‘y’ have rounded alternates, opening up the possibilities for more casual settings. Canberra FY comes out in 6 weights with matching italics.

Clother is a striking series of fonts tailored for branding, corporate design, and corporate communication applications. Its geometric sans-serif letterforms offer a distinct visual appeal. The font family supports various languages and encompasses four writing systems: Arabic, Cyrillic, Hebrew, and Latin. This comprehensive linguistic inclusivity, unified by a cohesive graphic vocabulary, empowers businesses to seamlessly convey their messages across diverse global markets while maintaining a consistent visual identity. Clother Arabic is particularly notable for its extensive ligature collection, which includes over 230 ligatures. These ligatures are specifically designed to restore the organic essence of typesetting in Arabic. The Clother family includes four fonts: Light, Regular, Bold, and Black. Each font's character set consists of 1318 glyphs. The letterforms feature more personality than you might expect from a geometric sans. This quality is evident in the fonts' lowercase "f", "g", and "y", although the "K", "k", "W", and "w" also have rather unique forms. Strengthening Clother's geometric girding, its fonts' lowercase "a" and "g" are single-storied. Like the open counters in the "f", "g", and "y", they contribute to the very rounded feeling that is present throughout the fonts' lowercase. Dots on the letters "i" and "j", as well as the punctuation marks and dot-based diacritics, are drawn with circular forms. Clother's letters have low stroke contrast; they are almost monolinear in their appearance. The lowercase letters' x-height is not particularly high, and the fonts' ascenders are taller than the height of the capital letters. Clother's default numerals are proportional lining figures, but tabular lining and proportional oldstyle figures are also included.

Coco FY is a vintage script font reminding of storefronts sign paintings, and other hand-lettered street signs. With its high contrasts and its condensed forms, Coco FY will give an original retro style to your designs. This font will certainly find its pleasure on posters, packaging and branding.

Time is valuable in corporate environments. Unlike the text in books, business communication and financial reports aren’t necessarily Their contents must be understood quickly. When it comes to commerce, the typeface just can’t afford to get in the way. Drive is a family of sans serif fonts. To help facilitate more economic typesetting, its space-saving letterforms help fit more text on a line, without sacrificing any readability. Since Drive is designed in a humanist style, the counterforms inside its letters are open; texts set in Drive remain clear, even under adverse reading conditions. The Drive family includes nine weights, ranging from the very thin Hairline weight through a heavy Extrabold. Every weight has corresponding upright and italic fonts. Characters are drawn with virtually-monolinear strokes; each part of any given letterform is equally sharp. Thanks to the family’s wide number of fonts, users can combine multiple weights together to increase contrast within a design’s text. While Drive is optimised for use at smaller sizes, its extreme weights are well-suited for setting headlines and other large texts. Drive is suitable for print-based designs, as well as for on-screen usage. Each of Drive’s 18 fonts has over 500 glyphs in its character set. This substantial range includes diacritics for all European languages written with the Latin script, as well as several directional arrows and pre-composed fractions. The numerals come in various typographical options: the fonts have both proportional and tabularly-spaced lining figures, proportionally-spaced oldstyle figures, and full sets of numerators, denominators, superscripts, and subscripts.

A slab serif for display work, Egitto is an ideal choice for designs requiring sturdy type. Shipping either as a three-axis Variable Font or as a large family of single styles, its stable letterforms are low in contrast. They feature heavy serifs that give texts a solid look. Slab serifs were born to help printers advertise products. Today, they are still are a favourite choice in Corporate Design. ‘Egitto’ is Italian for Egypt. For much of the 19th and 20th centuries, typographers referred to slab serif typefaces as ‘Egyptienne’ designs, despite this kind of letter having no direct connection to ancient hieroglyphs or 19th-century Egyptian culture. Instead, this typographic genre first became popular during a pan-European wave of interest in Ancient Egypt. This inspired waves of fashion sometimes described as ‘Egyptomania’ or the ‘Egyptian Revival’. In France, slab serif typefaces are often classified as being mécane, or mechanistic, because of their mechanical construction. That is probably nowhere more visible than in slab serif vernacular signage. We call our typeface Egitto because this name helps transport the Italian flavour of the design. Its most direct point of inspiration is a kind of vernacular signage familiar all over Italy, including letters that are embossed from metal plates or made out of ceramic elements, etc. Egitto does not seem to have any calligraphic origins at all. Instead, the design is based on a construction system making use of a series of modular parts. That sets it apart the most from most serif typefaces. While Egitto looks like it might have been made by machines, its forms were carefully crafted by hand. The best way to use Egitto is to install its single Variable Font file. However, the typeface is also available as a big collection of traditional font files. With those, users can switch between seven different pre-defined widths, ranging from Condensed to Super Wide. Each width has five pre-defined weights on offer, all with italic companions. Axes for weight, width, and slant give the Egitto Variable Font a near-infinite number of variations. The Slant axis, in particular, is an excellent feature. It allows users to set the exact degree of slope that their ‘italic’ type should have. Text set in Egitto exhibits a lovely interplay between the round elements and the heavy slab serifs. The design for the fonts’ ‘j’ and ‘t’ letterforms are so mechanistic that they look like Modernist letter-forming experiments. Egitto is a slab serif whose design features all the sturdiness the genre can carry. It is a good option for headlines and short texts. Egitto also shines in branding: its large variety of styles can allow for the family to be used in Corporate Design. The middle of the design space’s range can suit longer text-settings, too.

Embla is a subtle and introspective typeface designed for high readability and clarity in body text. Inspired by Latin Roman styles, it has consistent line thickness, a slightly angled axis, and generous curves, giving it a modern yet timeless look. Embla starts in a Regular weight, tailored for extensive text usage where clarity and ease of reading are paramount. Embla is released alongside its sibling typeface, Askr. Both typefaces emerge from the same creative origin yet express distinct voices. Each bridges the aesthetic differences between Southern and Northern European writing styles in its own unique way. Embla evokes a cool visual aesthetic and subverts the inherent warmth of Roman type. It combines muscular curves with robust serifs atop a predominantly vertical structure reminiscent of Northern European writing traditions. Its versatility and elegance is designed for use in detailed documentation and long-form content, ensuring readers enjoy a seamless reading experience. Meanwhile, Askr features a Gothic flair with the softness of Southern European type styles, evident in its traditional angularity combined with asymmetrically-curved wedge serifs. It adds a subtle warmth into the imposing vertical presence of Textura through softened curves. Keeping contemporary reading habits in mind, we have strategically introduced Embla in a Regular weight, optimized for excellent readability at smaller sizes while Askr's Heavy weight is ideal for large displays. Our vision is to expand the range for both typefaces from Light to Black, making them versatile across various design applications. This preliminary release is the Alpha version of Askr and Embla, allowing designers to experiment with them early on. We invite you to be a part of this journey as we work towards the full weight range in version 1.0, which will further highlight their complementary nature when used together.

Exquise FY is an elegant & ‘distinguée’ family. With its round and elegant shapes, this new didone typeface is developed in six styles. Though inspired by classical thick and thin shapes, Exquise FY’s design is innovative with its sharp drops.

Fat: Power of thickness Get ready to meet Fat, the epitome of boldness in the world of display fonts! With its commanding presence, Fat is designed to make a lasting impact on your design projects. It's the font that demands attention and leaves a memorable impression. Fat goes beyond boundaries by covering not just one, but two writing systems: Latin and Japanese. This fusion allows you to seamlessly blend different languages, creating designs that transcend cultural barriers. Whether you're working with the elegance of Latin script or the distinctive characters of the Japanese language, Fat supports it all. However, it's important to note that Fat does not include Kanji characters. For Kanji usage, it can be easily paired with fonts like Noto Sans CJK JP, enabling a harmonious mix of styles. The Latin script in Fat was meticulously crafted by Gaëtan Baehr, while the Kana characters were skillfully designed by Li Yuxin. Fat stands out with its unique characteristic - extreme thickness. Every letter is so incredibly fat that it captures attention instantly. But it doesn't stop there. The letters have a three dimensional aspect, with elements such as the right stem of 'n' extending directly above the left stem, or the lower part of 'z' extending in front of the rest of the letter, creating a visually dynamic effect. This 3D effect allows the letters to be as bold as possible. In addition, the accents in Fat are seamlessly integrated into each letter, creating a sense of volume and allowing for efficient use of space. They become an integral part of the character, enhancing its overall design. This thoughtful incorporation of accents adds to the distinctiveness and visual appeal of Fat. Some letters even undergo simplification, as seen in Japanese characters like ゑ or お, where strokes are streamlined. Additionally, there are ligatures where two letters 's' merge into a single glyph with a single counter form, enhancing the visual cohesion. In addition to its captivating letterforms, Fat offers a diverse array of arrows, pictograms, and emojis. From chess symbols to playing card icons, these additional elements provide even more creative possibilities. Whether you need to convey direction, meaning, or add a touch of fun, Fat has you covered. Experience the unique fusion of Fat's extreme weight, delicate counter forms, versatile script coverage, and expressive elements. It's time to unleash the power of Fat and make a bold statement that resonates with your audience.

Finder is a versatile sans-serif typeface meticulously crafted for multi-script applications in user interfaces. Designed with an emphasis on clarity at smaller sizes, its open design, large counters, and ample spacing significantly enhance legibility. The typeface's neutrality ensures a seamless user experience, keeping readers focused and undistracted. At the core of Finder's strength lies its robust multi-script capability. Every detail, from design and proportions to spacing, has been precisely planned to create a harmonious multilingual system, accommodating a vast array of the world's languages. Finder works effortlessly across diverse regions and touchpoints, instilling confidence in its performance. The recent redesign of the Arabic script in Finder brings it into perfect harmony with other scripts, such as Latin. This upgrade includes the introduction of 193 ligatures, enhancing the natural flow and readability of the script. The design incorporates vertical and horizontal cuts, ensuring that the Arabic characters maintain their traditional elegance while seamlessly integrating with the modern, clean aesthetic of the typeface. These thoughtful design elements provide a balanced and cohesive appearance, whether reading in Arabic or switching between scripts, instilling a sense of harmony and balance in the design. Finder is ideal for any UI project and a game-changer for international companies expanding into new markets. It ensures a consistent design and communication experience across all platforms, markets, and countries. By maintaining a uniform look and feel, Finder supports a coherent brand identity, enhancing user engagement and satisfaction globally.