Jasmine Dobie

Wild Bloom is a whimsical, joy-provoking, soul-comforting COLOR FONT suitable for any project that requires putting smiles on faces. It is perfect for your social media posts, logos, stationery, children’s books, packaging design, typographic posters ... the list goes on. You can expand the font’s existing color palette and pick your own; it also comes with alternate characters to improve your experience. A specially designed black and white version of the font is included with full OpenType support covering Latin languages.

Wild Bloom is a collaborative typeface based on the lettering of Juliana Pedemonte and produced by Ale Paul.

Package:

Wild Bloom comes in file with a pre-defined color palette. You can always change the colors converting the text to outlines.

Technical info to use:

The package contains a normal TTF/OTF font in Black and White and a colorfont in SVG-TTF format. To be able to use the color file you need to have installed Adobe Photoshop CC2017 or Adobe Illustrator CC2018. Not all the browsers support color fonts so please be sure to use them as graphics.

Aceituna means ‘olive’ in Spanish. It comes from the Arabic Al-Zeitoun. I am multi-tasking today: finishing this font and thinking about what to cook for my family tonight (yes, I am the one who cooks!). We normally eat Asian food, but I was toying with the idea of serving something Mediterranean and realised we had run out of olives. So there you have it: the super simple trick of naming a new font!
But enough of cooking: Aceituna font was made with a Japanese brush pen. It is a very versatile font: tall and thin, elegant and a little messy. A hint of texture and, like olives, it goes with almost anything.

HS Gold is based on some modern lines of Naskh calligraphy which supports Arabic, Persian and Latin with a Sans Serif with subtle round on stems and corners.

The typeface has been optimized for corporate identity work, editorial design and modern projects when a contemporary and simple look with a similarity between Arabic and Latin is requested.

It features swash, ligatures and swash ligatures. Its proportions allow high impact on the tightly set lines of big and small text alike. This font consists of two weights (regular and bold) which can constitute a striking addition to the library of Arabic and Latin contemporary fonts models that meet the purposes of various designs for all tastes.

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms.

Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety.

Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects.

Designed by Kiril Zlatkov and Vassil Kateliev.