Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose. The family does not contain a roman, and instead promotes the italic as a primary style, a common printing convention in the 16th and 17th centuries. The italic lowercase predates inclined capitals by about twenty years, and as a nod to this typographic evolution, Alizé’s capitals, small capitals, and figures are very slightly inclined to match the energy of the lowercase. The low x-height and long ascenders and descenders, features associated with finesse and luxury, are reminiscent of the Venetian-style italic, but are further emphasised. Unlike the Venetian italic, however, Alizé has a sharp slope, giving a prominent sweep across the page (alizé is the name of trade wind). Each font of Alizé has a character set count of exceeding 700, and contains an abundance of ligatures, dynamic fractions, ornaments, and pan-European language support. They have also been manually hinted for the highest-quality display on both print and screen.

Diamant Handwriting is an upright handwritten font, which looks like a thick pen stroke. Form orientation is generally flowing horizontally, this is a reflection of composure in writing, we set the rhythm of each glyph so that the combination of high and low letters is very soft, try it, whatever you type with this font looks very calm. Activate the OpenType feature, because this font is equipped with ligatures (liga), Stylistic(salt), Contextual(calt) and initial alternates. We present all of this so that your writing is automatically setup, we also provide access to all alternates (aalt) features, this allows you to choose the glyph you like manually. We designed this font only for brand identity. Your brand will look different from other brands. You can also use it for short slogans to further amaze views and attract more customers to see you closer. 'Diamant' is another word of diamond that is often used in Europe, we give this name as a representation of the whole font as a symbol of luxury, brilliance and stability and comfort. We do not extend the theory and philosophy of this font, you better try it yourself, and you will be amazed. thank you

Freundschafts-Antiqua AR is based on a 20th-century German type design. Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960. It was cast in 1964 by VEB Typoart, Dresden, in 9-pt and 28-pt (Didot). The design combines the best German traditions with the Chinese bamboo pen. It is a unique, wholly modern, yet quiet and dignified typeface which is well suited for text-setting in many sizes. The original design was carefully crafted with all non-kerning letters (none of the letters overhangs its side-bearings); the lower-case f was designed so that no ligatures were needed. The AR fonts include the type's ch and ck logotypes, monetary signs and all the standard accents. The letterfit of the original design is retained and, as can be seen in the attached printable .pdf, text composed at normal sizes is very agreeable indeed. Freundschafts-Kursiv AR A features old-style (non-lining) figures and 'kerning' letters; Freundschafts-Kursiv AR B contains lining (cap-height) figures and all non-kerning letters following the original design of the face.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Introducing Promenade – a calligraphic serif that started on paper with a flat nib pen (see the 6th image), and blossomed into a full serif with italics. At its core, this font is just... beautiful. It's elegant, it's crisp, it's delicate, but can still hold its own. As I was creating the graphics, I just couldn't get over the flow of the letters – especially the italic. It's got class, but also isn't afraid to rock a pair of Doc Marten's. Funny enough, Jen from Tonic (they make beautiful websites) saw a preview of this font and said, "I'd take that font to prom." Which of course spurred a conversation about how this font would take a Mercedes G-Series instead of a limo, and wear Doc Marten's instead of heels, but still wear the most gorgeous dress, and that is 100% Promenade (and inspo for the name – thanks, Jen!). I've also been loving combining the regular and italic, especially for logos (see the "Friendfolk" logo) One thing to note about Promenade is the letter spacing. It was spaced for clean reading and intentional balance, so I recommend setting the spacing a little tighter if you want to create the display look found in many of the logo mockups(around -20 to -40 should do!).

These fonts will join-as-you-type in your OpenType application as shown in the posters above. Choose Use Contextual Alternates option in your app to get basic recommended baseline joins for teaching. Additionally, use can choose from 7 Stylistic Sets of alternative letterforms that are so important for Teachers. Create ‘pen lifts’ anytime too! Fonts display unjoined by default on this website and are delivered that way - joining is controlled by your application. Designed for teaching children, these fonts enable progressive pupil exercises for a smooth transition between separate letters and the teaching of joined handwriting. Purchase a single font or the complete package contains the typeface ‘Sassoon Joined’ in a Regular weight only, for the 5 Nordic languages; Finnish (Suomi), Danish (Dansk), Icelandic (íslenska), Norwegian (Norsk), Swedish (Svenska), with English as the default language in all fonts. These fonts are for use with a compatible OpenType applications such as Word to get joined text. Or, enter " | " between letters for unjoined text. Free to download resources Stylistic Sets and how to access the alternative letters feature in these OpenType fonts Purchasers of this font package may use their Order Number to receive a free Copybook PDF by Rosemary Sassoon recommended for effective teaching

Thystle is a "font for all seasons". It has six styles ranging from fine to in-your-face, from delicate mono-weight pen strokes to fully calligraphic lines, from delicate, narrow characters to bold, powerful statements. Characteristically, all the styles abound with Anton Scholtz's energetic "creative common" style - extravagant capitals, clear characters, and bursting-with-life swashes. Three Thystle styles are calligraphic. You can use: - Regular for invitations, poems, greeting cards and body text - Black for swing tags, music media, menus and sub-headings - Fat for posters, book covers and headings Three Thystle styles are monolinear. You can use: - Mono1, which is both delicate and condensed in width, for invitations, poems, greeting cards and body text - Mono2, which is of medium weight and condensed in width, for swing tags, music media, menus and sub-headings - Mono3, which is heavier and of standard width, for posters, book covers and headings. Opentype features include alternative upper case characters, as well as a number of ligatures. (These can be used in applications that access OpenType features.) Thystle contains over 283 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters for both Text and Display caps). It has all the accented characters used in the major European languages.

New Orleans, June 25, 1895 My dear Edmond, I found upon my return home to dinner yesterday, your letter informing me of your affection for Annie and asking that we confide her future happiness to your keeping... This excerpt was taken from a letter written by designer Kathryn Podorsky’s great-great-grandfather, Lucien Doize, in response to Edmond’s request to marry his daughter, Annie. The letter was not only beautiful contextually, but exquisitely penned and epitomized the delightful charm of the New Orleans people of the time. Vena Amoris, or “Vein of Love” refers to a phrase coined by Henry Swinburne in his A Treatise of Espousal published in 1686. Vena Amoris also refers to the fourth finger on the left hand which was traditionally believed to contain a vein running directly to the heart, hence “the ring finger.” As a digital font, Vena Amoris boasts an extensive Latin-based character set that supports 51 languages. Also included are stylistic and contextual alternates, ligatures, swash variants, oldstyle figures, and roman numerals and calligraphic words that will undoubtedly bring a dynamic quality to any setting. All of those extras are driven by cleverly applied OpenType features allowing you to add harmony and calligraphic beauty to your layout.

Imagine a world filled with swirls of strawberry, pops of pink, and pure joy to go around for everyone... Are you trying to make an elegant, sweet, and stylish statement with your invitations, social media, website, or printed materials? Then grab some cotton candy, crack a smile, and get ready for a swirly day of wonders! Introducing Strawberry Swirl - A Modern Script Font. This gorgeous & stylish font can be used for a host of different content needs and projects. Use it for your headings, logos, business cards, printed quotes, invitations (wedding, birthday, engagement, etc.), packaging, resumes, and even your website or social media branding. Enchant & delight your audience, clients, or guests with this versatile, stylish, and elegant font. What you’ll get: - Multilingual & Ligature Support - Full sets of Punctuation and Numerals Compatible with: - Adobe Suite - Microsoft Office - KeyNote - Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Are you looking for fonts for logos and event brochures? Bulgarian Dreams font the solution, Bulgarian Dreams Font is a lettering style font with a touch of smooth and natural curved lines like when writing manually on paper using a brush pen. There are 4 font styles that you can use to enhance your design Apart from being used for logos and brochures, Bulgaria Dreams font can also be used for poster titles, book titles, lettering, merchandise Design etc What's Included : - More than 270 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations, Stylistic,Ligatures ) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Novel Pro is the humanist Antiqua typeface family within the largely extended award winning Novel Collection, also containing Novel Sans Pro, Novel Sans Hair, Novel Sans Condensed Pro, Novel Display, Novel Display Condensed, Novel Display Extra Condensed, Novel Display Compressed, Novel Display Extra Compressed, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Classic proportions of a Renaissance Antiqua combined with modern details let Novel appear as a friendly and elegant but functional typeface. The almost upright letters of the narrow Italics create a vital contrast to the generous construction of the roman. All typeface families of the Novel Collection have a carefully attuned character design and a well balanced weight contrast. The fine gradation of 12 weights enable designers to create fine legible typography and combine the design with other members of the Novel Collection to reach highest quality in typography. Novel Pro [914 glyphs] comes in 12 styles and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Idealista directly responds to its other members, Nudista and Kulturista. It shares the same proportions and the same set of weights, yet it enriches the expression means of the two typefaces with new themes — the character set is smooth, even round, and it boasts a number of special details and perky moves. Most of all, Idealista relishes juicy magazine titles, typographic logotypes and propagandist posters. Unlike cold, technicist typefaces, it has great zest for life, so there's no wonder that in each of the letters, intuition wins over intellect. Owing to this, the text set in Idealista has a special voluptuous quality and unmistakable temperament — in a single typeface Idealista combines the best of sans-serif, slab-serif, as well as geometric and calligraphic construction principles, coming down to one impressive, expressive cocktail. Some letters have serifs, some do not, some are sharp, some are smooth, and all this results in the nice hip-hop beat of the line of text. The typeface has five weights and ten styles in total, so it can easily accommodate to the needs of complex texts, unlike many of its display counterparts. Idealista is valuable partner for the more text-suited Nudista and, if need for tiny sizes arises, to Kulturista as well.

Ladoga — one of the most beautiful Russian designs from the soviet period. The type family was developed in Polygraphmash in 1968 by Anatoly Shchukin on the base of his own lettering for book covers and titles. It was one of the first attempts in Cyrillic typography to create text face in a style of renaissance antiqua. Stylization to broad pen calligraphy resembles early forms of Latin types that were based on handwritten humanistic minuscule. Unique in its character set digital version of Ladoga was designed by Viktor Kharik on the base of artworks of Shchukin for ParaType. The family consists of roman and italic styles in text and display versions. Character set includes characters of original shapes as well as more modern alternatives. Besides there are a set of additional characters, old style figures and small caps. The fonts cover all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters. Ladoga is gorgeous in display sizes and pretty readable in texts. It’s well suitable for fiction literature, historical books, art criticism, religious and philologist works. It will be extreme helpful for multilingual issues and for inclusions into body text historical passages in original orthography. The family was released in 2010.

The Astronef Super borrows from the charm of retro-futuristic universes. Without concessions, and even radical, the Astronef Super, declined in three styles, pushes the weight limits as far as possible systematically while preserving a unique design. Using the Astronef Super in large size is a real pleasure, it is a very identifiable typeface family, recognizable immediately. Undeniably, choosing the Astronef Super in your designs is not insignificant. This typeface used in large sizes will strengthen your graphic identities. Background The Astronef Super could be considered as the “Spin-off” of the Astronef currently being designed, that will offer an important variation of styles. Of course the Astronef, is wiser in his drawing, it places himself in the tradition of the Univers more than the Helvetica. Genesis and the creative process The idea for an Astronef Super comes from an excerpt from a 60s TV show which shows a logo in the background with a very bold S and this super thin in the middle. The Astronef is already modular in its design. The brief then becomes simple for the Super: accentuate the strongest weights of the Astronef by minimizing the counterform that will remain constant for the three styles. It is the mass effect that maintains the overall cohesion of the Astronef Super family.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

This delicious font family takes its name from the tastiest of Piemonte’s specialities. It has been designed in collaboration with Turin-based calligrapher and artisan Andrea Tardivo. Piemonte soil provides the most delectable hazelnuts, which are the key to creating a mouth-watering chocolate spread called Gianduja. This popular delicacy has a rich graphic history, with lavishly designed packaging. We sought to infuse the sweetness and tradition of Turin’s confectionary into a new font family, reinterpreting Italian models from the first quarter of the last century. All fonts were crafted by hand on paper first and then digitised in a way that retains the handmade quality and aesthetic. This family blends the Turinese touch from the old chocolatiers and the beautifully printed foils they use to wrap each exquisite creation. The extensive display family contains; Gianduja Sans a geometric font based on examples found in Italian art deco era artworks. Gianduja Script has been handwritten with a speedball pen following the standards of “Bella Scrittura” and Gianduja Capitals is a decorative font inspired by the “liberty” lettering signs from Piemonte. To complete the suite we developed an inline Capitals version, a set of icons and decorative elements all with the same handmade characters to perfect partner with each character set.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Tipograf�a caligr�fica inspirada nos t�tulos das canci�ns dun caderno familiar de partituras de 1941. � unha fonte creada da maneira m�is fidel posible a como se debuxar�a cunha pluma estilogr�fica do momento. Axeitada para t�tulos ou letras capitais. Non se recomenda empregar para textos longos, de non ser que se pretenda simular un arquivo antigo dun estilo manuscrito semellante. Tipograf�a caligr�fica inspirada en los t�tulos de las canciones de un cuaderno familiar de partituras de 1941. Es una fuente creada de la manera m�s fiel posible a como se dibujar�a con una pluma estilogr�fica del momento. Adecuada para t�tulos o letras capitales. No se recomienda utilizar pata textos largos, a no ser que se pretenda simular un archivo antiguo de un estilo manuscrito semejante. Calligraphic typography inspired by the titles of the songs of a family notebook of 1941. It is a source created in the most faithful way possible to how it would be drawn with a stylus pen of that moment. Suitable for titles or capital letters. It is not recommended to use for long text, unless you pretend to simulate an old archive with a similar manuscript style.

At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and finished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of openwork iron products or the bent iron of the decorative little railings in a Prague park. The so-called "hidden" and, furthermore, curved serifs complete the inconspicuous "charm" of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a magazine, a brochure or an annual report, in short whenever illustrations dominate. It is not by accident that the basic design of "Ideal Gothic" has such a light tonal value - it competes neither with fine pencil sketches, nor with sentimental landscapes. It is very suitable for business cards and corporate identity graphics.

Vintage sheet music for a song from the 1941 animated feature "Mr. Bug Goes to Town" featured a casual, hand-lettered inline type style on its cover page. Recreated as the digital font Go to Town JNL, this design is presented in all the imperfect glory of pen and ink lettering. Go to Town JNL is available in the regular inline version as well as a solid version. A bit about the cartoon: The project was created by the legendary Fleischer Studios in Miami, Florida (they had relocated from New York City), after they could not obtain the rights to adapt Maurice Maeterlinck's "The Life of the Bee". Beset by the expenses of relocating to Florida, growing production costs on the full-length feature cartoon and other problems; mid-way through the making of "Mr. Bug Goes to Town" the Fleischer brothers were forced to sell their studio to their distributor (Paramount Pictures) in order to continue in operation. It was released on Dec. 5, 1941 - just two days before the Japanese attack on Pearl Harbor. The release [and subsequent re-release by Paramount as "Hoppity Goes to Town"] was a disappointing failure, earning [as late as 1946] only $241,000 of the initial cost of $713,511 it took to make the film.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person's writing, and designed to look as natural and as close to the original lettering as possible. Like any person's writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. It is friendly and open with easy to read glyphs both as lowercase and uppercase. The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old. When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more. Maree has been individually crafted to the smallest detail. To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long. There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different. Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number... All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable. That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent. There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is. When this font is printed out you will find it is surprisingly neat. This font is what it is, simple clear handwriting. You will not go wow. But if you want something unique and different and looks good on the page you won’t be disappointed. This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 2 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 2 contains 144 fonts. Families included in Volume 2: Hype 0200, Hype 0500, Hype 0800, Hype 1100, Hype 1400, and Hype 1700. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Say hello to new serif font, The Beatrix! The Beatrix is a serif font that offers the perfect combination of modern and retro feel to each letter. Bold and well-contoured in character, The Beatrix embodies a boldness and charm that cannot be overlooked. The design exudes classic serif elegance but with a touch of fresh, up-to-date style. The Beatrix accentuates uniqueness with a variety of stylish alternatives. Each character alternative provides an interesting creative dimension, presenting a fun combination of modern and retro styles. You as a designer have the freedom to explore and express your unique ideas through captivating typography. The Beatrix is an ideal choice for a variety of design projects. With a modern and retro feel, this font is suitable for use in headlines, logos, branding, marketing materials, posters, and many more. Whether it's a project that wants to convey a contemporary feel or explore the charm of the retro era, The Beatrix has the flexibility to adapt and deliver a strong message. Here's what you get: The Beatrix Regular All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 3 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 3 contains 144 fonts. Families included in Volume 3: Hype 0300, Hype 0600, Hype 0900, Hype 1200, Hype 1500, and Hype 1800. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 2. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Introducing Hidden Gem Serif font - latin and Cyrillic Hidden Gem is elegant and abstract font loaded with 95 languages support, alternate and ligature glyphs to make you typography truly unique! I had so much fun creating this one and I really hope you will enjoy it! Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, numeral, punctuation & Symbol ligature glyphs alternate glyphs Multilingual support - 95 languages Cyrillic support No special software is required to type out the standard characters of the Typeface. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Andalucia is a calligraphic script font that comes with beautiful alternate characters. copper plate calligraphy mix with handlettering style. Designed to convey stylish elegance. Andalucia is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. The classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Andalucia features a glyph and alternate characters. including multiple language support. It features OpenType with styling, binding, and character strokes, allowing you to mix and match letter pairs to match your design. Files include: To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. Thank you for your purchase!

Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca). Due to its large x-height and plain design, the family is perfectly suited for all kinds of text. Its mid-weights are optimized for usage in long paragraphs, while the bolder weights, due to a short descender and ascender, create a compact and confident look in headlines or short copy. In order to create strong and dynamic italics, the oblique glyph shapes come with a faint calligraphic hint, defined by a higher stroke contrast and a steeper connection between stems and arcs in, for example, h n m and u. This is followed by different standard shapes for a and y, supporting the dynamic movement of the lowercase in general. A wide range of OpenType features such as ligatures, old style figures, fractions, case-sensitive shapes and many more, are available for professional and contemporary typesetting. This is completed with eleven alternative glyph sets, enabling a quick customization of the typeface. The family supports up to 92 languages and comes with 500+ glyphs per font.

The Fottina Script is a calligraphic script font that comes with beautiful alternative characters. a mixture of copper calligraphy with a zipper style. Designed to bring the elegance of style. The Fottina Script attracts good, clean, feminine, sensual, glamorous, simple and very easy to read fonts. The classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. The Fottina Script has 450 flying machines. including multiple language support. With OpenType features with alternative styles, binders and characters, it allows you to mix and match pairs of letters to suit your design, as well as a touch of ornament to make this font look elegant. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer. (Windows), Letter Books (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swash, use Character Map (Windows), Nexus Fonts (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. The world is a very big place, the world is for travelling. And that’s what Francisco did, travel. Though born in Spain, he was raised in Brazil, where he worked as a graphic designer. He spent years hitchhiking round South America, his eagerness to see and learn new things preventing him from settling in one place. He returned to Spain an old man, to find his roots. Francisco never dreamed he’d end up in the street: “The experience of the street has taken away my vanity,” or that he would grow as a person there. “The only thing I’ve learnt in life is that in life you have to learn, because if you spend your life without learning you haven’t lived.” In Barcelona, the street changed his life and taught him just how tough it can be. Tough, but full of good people. He says that’s the best thing about the street.

The fundamental in creating this typeface is the implementation of our interest in typography over the past year. Inspired by the elegance, consistency, and hard work of Times New Roman pull up our minds to a daunting blank canvas and began to think about what we had to do to take this idea even further. Whatever comes to our mind and when it is poured out, it will certainly remain within the rules of the letterforms. This typeface is created by a careful approach, consisting of 28 fonts 13 weights with matching true italics forms. Feature an extended charset of over 1800 glyphs, covering 219 languages using Latin, Cyrillic (basic to extended), and Greek alphabets. Included advanced open type features like stylistic alternates, terminal form, swash, discretionary ligatures, ordinals, small caps, positional numbers, fractions, and case-sensitive forms. BD Megalona provides a range of choices that will give luxury vibes in symmetrical layouts with selective deviations, and work well in a stylish look for your typographic project. This is a complete package of problem solvers perfectly suited for body text and high-impact headlines. Advance open-type features definitely stunning on logos, branding, magazines, website, etc. BD Megalona is our ego in expression that aims to supply the necessity of design nowadays while still in the corridors of the glory of past traditions as a source of our inspiration. We would like to show you a SHORT FILM about the process of designing BD Megalona Font Family, Click Here!!!

Zigfrida Typeface was born from a process of re-designing a logo where, through a grid created, I was developing all its main characters. As the project grew, it was noted that it was necessary not only to limit itself to the Latin alphabet, but also to develop Cyrillic characters. Its possibilities of use are endless, can be used in projects for your favorite sport, signs, posters, large formats, advertising projects, architectural, packaging, titles, among others. The result of all this was the development of a font that has up to 747 glyphs that can understand 100% of Latin languages and the vast majority of countries that use the Cyrillic alphabet. It has unique personality and characteristics that bring a differential to any project it is part of. ----- A Zigfrida Typeface nasceu a partir de um processo de re-design de um logotipo onde, através de um grid criado, fui desenvolvendo todos os seus principais caracteres. A medida que o projeto foi crescendo, observou-se que era preciso não apenas se limitar ao alfabeto latino, mas também desenvolver os caracteres cirílicos. Suas possibilidades de uso são infinitas, pode ser utilizada em projetos para seu esporte favorito, sinalizações, cartazes, grandes formatos, projetos publicitários, arquitetônicos, embalagens, títulos, entre outros. O resultado de tudo isso foi o desenvolvimento de uma fonte que possui até 747 glifos capaz de compreender 100% dos idiomas latinos e a grande maioria dos países que utilizam o alfabeto cirílico. Tem personalidade e característica únicas que trazem um diferencial para qualquer projeto que ela fizer parte.

Gladista is a calligraphy script font that comes with lovely alternates character. a mixture of from copperplate calligraphy with handlettering style. Designed to convey style elegance. Gladista is attractive like a smooth, clean, feminine, sensual, glamorous, simple and highly legible typeface. Its classic style is perfect to be applied in any type of formal pieces such invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Gladista features 360+ glyphs and 155 alternative characters. including multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, that allows you to mix and match pairs of letters to fit your design, and also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail.