Bordonaro Script - Bordonaro Spur’s partner - is an interpretation of the “English Roundhand” style with a strong influence by the logos of American basketball and baseball teams. It is designed from simple shapes ideal to be used in long titles and fits perfectly into the branding design. Psss...Check out the NEW Bordonaro Script with Rounded corners , same version but soft! Bordonaro has a complete set of special and original characters: Stylistic Ligatures, Discretionary Ligatures, Swashes, Contextual Alternates, Titling, ss01,ss02, ss03 & apostrophes' ligatures that work as complements to enrich the text composition. Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

Eloquia is a neo-grotesque sans serif type family with geometric roots. Though it's a neutral typeface the unmistakable influence of geometric shapes gives it warmth and a unique flavor. With 34 fonts in total, Eloquia comes in two distinct optical sizes Text and Display. The Display styles are spaced tightly keeping headlines in mind while the Text styles feature a larger x-height and wider apertures with loose spacing making them highly legibility at small sizes. The elegant balance of neutrality and modernism makes Eloquia extremely versatile in its functionality. Whether it's being in the spotlight or in the background blending in, Eloquia can do it all. Eloquia is equipped with powerful OpenType features like Small Caps, Capitals to Small Caps, Stylistic Alternates, Ligatures, Case Sensitive Forms, Superscripts, Subscripts, Numerators, Denominators, Fractions, Ordinals, Proportional Lining, Tabular Lining, Oldstyle Figures, Scientific Inferiors, Localised Forms, Historical Forms, Capital Spacing and more. Eloquia supports more than 88+ languages including all major Latin languages. The Eloquia Display ExtraBold & Eloquia Text ExtraLight are completely free of charge.

Casca Riola – A Classic Display Serif Typeface Casca Riola is a timeless Classic Display Serif typeface that effortlessly combines elegance with readability. Its refined letterforms showcase a harmonious balance between traditional and contemporary design elements, making it suitable for a wide range of applications. The sturdy serifs and well-defined strokes lend a sense of authority and sophistication, while subtle details in the letter shapes add a touch of modernity. Casca Riola excels in conveying a sense of professionalism and grace, making it an ideal choice for editorial design, luxury branding, and any project that demands a touch of enduring style. Whether used for headlines, titles, or body text, Casca Riola captivates with its timeless aesthetic, making it a versatile and enduring addition to the typographic landscape. Casca Riola is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Segment B is a powerful display type family with 18 styles inspired by condensed European grotesques of 19th-century with a reference to the first grotesques, which differ in the contrast of strokes, but with clear geometric proportions. In Black weights, the letterforms are inspired by the aggressive industrial graphic design of the 1960s and 70s. Both have 3 axes and are adjustable in weight, width and 10? italic. It is a typeface with narrow proportions, distinctive character, high-quality outline and lots of details. Characters have oblique cuts, sharp tails and highly visible ink traps. All this makes the font more aggressive and edgy. The huge x-height with short ascenders and descenders allows this typeface to be used in blocks with minimal line spacing. Features: – Total glyph set: 631 glyphs; – 18 styles (3 weights x 3 widths + italic); – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; OpenType features: – Proportional numerals, tabular numerals, superiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic alternates (ss01-ss05); – Ligatures; – Case-sensitive forms.

One of the most remarkable characteristic of this humanistic sans serif is its versatility. Ronnia’s personality performs admirably in headlines, but is diffident enough for continuous text and small text alike. The heavier weights deliver very cohesive shapes, and they have been successfully used for branding and newspaper headlines. Its ten styles grant the designer a broad range of coherent color and texture variations in text blocks, necessary tools to solve complex information and editorial design problems. Ronnia has been mainly engineered for newspaper and magazine applications manifested in its properties: economic in use, highly legible, and approaching the reader with some friendliness and charm. Ronnia features about 800 characters per weight, including small caps, fractions, old style and lining numbers, scientific superior/inferior figures, and a set of symbols and arrows. It supports over 40 languages that use the Latin extended alphabet. Ronnia Basic is a reduced version of Ronnia. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute's standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Rooted in earlier designs for Germany's railway companies, the alphabets were based on geometric shapes in order to be easily reproducible using compass and ruler. In post-1945 West Germany, the DIN alphabets were widely used, for instance on most road signs. They became available as fonts that were appreciated by designers for their industrial, somewhat quirky and “non-typographic” look and feel. From the 1990s onwards, more refined versions became available for use in book and magazine typography. DIN Next is a typographically corrected and expanded version of this quintessential 20th-century design. DIN Next Rounded is its softer, friendlier version.

Wozniak is a workhorse sanserif typeface in 16 styles that includes a 16 styles display font on itself. On its default shapes brings a modern, clear and bright personality to the text and a wide range of possibilities by supporting many OpenType features, such as oldstyle, lining & tabular numbers, small caps, inferiors & superiors, discretionary ligatures, numerators & denominators, extended fractions, case sensitivity forms and more, all carefully crafted and balanced for excellent legibility and optimum performance both on screen and on paper. But that's not all, every style also includes two complete uppercase sets of display alternates and more than 180 stylistic ligatures inspired by the digital revolution and the early 80s aesthetics. All this blend into a flexible and multifunctional set of over 1600 glyphs, support for more than 200 latin script languages and the potentiality of use in long text settings, headlines or branding, travelling from modern to vintage with absolute ease and naturality. Wozniak was named after Steve Wozniak as a tribute to the pioneers of the digital revolution.

Sailor is the digital rendition of a film type that was popular in the early- to late-1970s. The type was called West Futura Casual at Photo-Lettering by David West. Some of the letter shapes of the original were replaced with more contemporary versions, but the originals remain accessible as alternates from different cells within the font, along with some other alternates and letter combinations. Just as the name implied, this sort of lettering is what happens when someone tries to apply Futura’s geometrical principles with a casual hand brush. This style has been popular for over three decades now, and is still going on strong. Posters with casual attempts at geometry are seen everywhere these days. Sailor’s brush style is now the standard visual expression of fun, cool, and happy atmosphere. It has the kind of versatility that can excite the eyes of children in cinemas, brand a product as happy and hip, turn a sign or banner into a cheerful invitation, or just make a poster or book cover that much more appealing to the eye.

Hostilica is a semi-serif family designed by mixing classic serifs in the age of romanticism era with contemporary modern shape and curves. It gives a warm, friendly, and inviting feeling without losing a formality of text fonts. Every weight was designed carefully to provide a unique look while maintained the unity of the type family. A thin weight gives your content an elegant, luxurious design feel. While the regular weight, designed for body text, gives your content a warm and friendly design feel. The bold weight will make your headlines stand-out with its fat counters and curves. Therefore, Hostilica will accomodate all your design needs, from text to display, from catchy to luxury. The italics of each weight will spice up your design project especially with letter 'f,s,r,k, and y'. Those italic versions paired with alternate and discretional ligatures will add an organic feeling to your designs. The italic styles are designed by emulating a handwriting stroke, and will give a more personal feel while still maintained a formal sense.

Molde is a super sans serif font family, belonging to the neo-grotesque style. Formally, Molde was inspired by the extreme sobriety of famous post-Bauhaus Swiss Movement of the mid-twentieth Century. The masters of this style are famous for eliminating all the ornaments, as a brilliant mind said “Ornament und Verbrechen”(Ornament and Crime) as a creation law: ending up with only the essential. Thanks to the purity of its shapes, Molde spreads the message as clear as possible and this quality makes it much more versatile than any other typography. Molde can be therefore used in all types of designs, If we consider its personality and its amount of weights and widths. Molde is composed of 6 widths ranging from the tablet to the expanded and in the set of characters includes a Unicase version and a small caps version. The family is composed of 3 parts: the regular version, the italic version and the reverse version. Each one of them has 9 weights. Each weight has 649 characters and it has been thought for 219 latin languages.

Antica has sharp triangular serifs, and in 8 weights with true italics, it forms a family that stylistically finds its origins in Latin styles of the nineteenth century. The font incorporates additional swashes, small caps and stylish alternates that advance the aesthetic from its roots and make it appropriate for modern design. Commonly named ‘Latin types’ did not vary in weight, but we decided to create Antica with a range that goes from thin to black and we also added extra curlicues to the letterforms. Antica borrows from the versatility and freedom granted to type founders of the nineteenth century – a time when the meteoric growth of mass-produced consumer goods led to an increased demand for publicity that needed fresh, attention grabbing typefaces. And as an homage to these Latin types we designed Antica to function well with an array of projects from stylized labels and formal editorial design requiring small type sizes to large-scale posters and billboards. The Antica family supports a wide variety of Latin alphabet-based languages.

@andinistas presents Rapsodia, an uncommon roman caps font with serif and high contrast, designed by #carlosfabiancg. Rapsodia was inspired by Stunt Roman, Speedball Textbook for Pen & Brush Lettering by Ross F. George. Rapsodia has a high and sweetened amount of contrast between thin and thick with drop-shaped finishes, reminiscent of Didot, Baskerville and Bodoni. Its artistic accent translates into Tuscan letters drawn with a flexible tip pen. In that order, Rapsodia combines the visual theatricality of an art nouveau corset, with creative historical classics such as Liza Minnelli, Gene Simmons and Freddie Mercury. Its calligraphic curlers full of Mannerist virtuosity are unnatural in Roman caps typefaces with serif. That is why its internal vein in ascending and descending flourishes protrudes with Chicano circus details like triangular diamonds located in vertical strokes. Rapsodia serves to design words and phrases in fine publications, for this reason most of its upper and lower case letters communicate feelings with classic and luxurious sensation through substitutes, ligatures and alternatives for beginning, middle or end of word, functioning as initials and terminals.

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

Joachim Müller-Lancé's Uppercut is a rather sporting fellow, originally developed for the Krav Maga training center of San Francisco (Krav Maga is a simple and efficient self-defense system that has become equally popular in Hollywood and with law enforcement). Joachim has spent several years training, hitting things and people whenever he needs a break from kerning. Uppercut can be seen on the school's t-shirts and other articles. Despite bearing the same moniker as an upwards punch to the chin, the name actually fell together quite naturally as Uppercut is an all uppercase typeface, and the word "cut" is also historically used to describe a type style in hot metal type. For this slanted look, "Angle" felt just right (with thanks to Mia McHatton). The design idea sprang from pencil sketches for the center's new identity. Uppercut's shapes are not calligraphic or handwritten, more like lettering seen in comics or sports logos. Its brush movements are imaginary, not too literally brushy. During development, details were simplified and reduced until a bit of a cut-paper feel emerged, but more fluid like writing. The shapes are economical and efficient; simplicity makes the font versatile, holding up in small as well as big sizes. Uppercut is decidedly analog, muscular but not bulky, with the fluid but determined movements of a boxer or martial artist - not theatrical but powerful, fast, confident and dynamic. Well... it has punch. In the proportions, there is emphasis on a strong upper edge "keeping its guard up", while several stems protrude downward, giving the impression of leaping or being "light on the feet". Use Uppercut to pick up the pace, add snap, verve and drive - on movie posters for action and adventure, to advertise your dojo, rumble or prizefight, racing team or tuning shop, or invite friends to your barbecue with old time rock'n'roll and homemade hot pepper sauce.

Conversation Hearts are inspired by the sweethearts and conversation hearts that can be found all over the US and Britain, but not in Germany. A source of endless fun and surprise. As a typographer to me they are also a surprising document of written communication. Most people complain that nowadays the inscriptions are not as sweet as they used to be. While they used to held romantic and promising inscriptions like “Be True” “Sweet Talk”, today they carry “Tweet me” “Ur Hot” and “Party Girl”. So i took this as a motivation to work with conversation sweetheart on a conceptial inspirational and typographical level. The obvious: every letter pressed on the keyboard brings out a conversation heart that starts with the letter - i.e. L = Loverboy, H = Heartless but what to write? Since i didn't want to reproduce the old “Fax me” and “Email me” I had to come up with something new. Something with a personal relation and of course something that I Love - what else could i write in the shape of the heart? So I tried to access my upper subconsciousness and looked for two words for every letter in the alphabet. One for the capital letter pressed and one word for the lowercase letter. Resulting in a Kurt Schwitters worthy assemblage of vocables "Post-office" “Internship” “Zebra” “Answers” etc. It is not easy to read a text set in Conversation Hearts but easier as a text set in Zapf-Dingbats. To sparkle the visual appearance uppercase letters are filled hearts with “carved” inscription, while lowercase letters are an outlined heart with written inscription. Conversations Hearts is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Dynamic by name, and dynamic by nature - this sleek font is perfect for logos and hightech quotes. The original lowercase f had a big overhang - I redesigned it so it fits better with accented letters, but also kept the original shape as a contextual alternate: the font automatically uses the "large" f before any low letters... Also the lowercase j would crash into any preceding letters with a righthand descender - so I also designed an automatic alternate j. Result: no colliding letters! The Slanted version adds a touch of speed. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Need for speed? Satisfy it with insigne’s Celari. Take it for a drive and watch how its simple curves, easy lines, and sturdy shapes handle the edges and corners of your projects with smooth and rapid execution. The negative space cuts through the rounded sans serif letterforms of Celari, giving this all-caps typeface a strong impression of dimension and speed. Celari’s organic stroke direction allows you to ease through its gentle turns, too, causing the font to hum around the lines of your project like a V8 engine on an open Nevada highway. The speed and agility of Celari is built for nothing less than a headline. Use the larger-than-life power of this face for any number of oversized applications--mastheads, posters, web headlines, flyers. It provides excellent performance for service-oriented ads where efficiency and quick buyer service are priorities. Customize your ride, too. The OpenType version of Celari includes some serious add-ons to make it your design. The font incorporates discretionary ligatures for some funky combinations and adds in stylistic and contextual alternates for virtually endless possibilities with the characters, ligatures, and composites. Make sure your setup allows for OpenType fonts (Adobe CS suite or Quark) before unleashing the fun of Celari, though. Be confident with your design. Be quick with your message. Again, take Celari for a drive and unleash the strength and velocity of its character in your design. You've been holding back long enough.

Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The typeface was initially made for use in the branding and promotional material of Lincoln’s new design outfit. This alphabet’s forms are a spin on Bifur, the all-cap deco face designed by Adolphe Mouron (known as Cassandre) in 1929, and published by the Deberny & Peignot foundry in France. Lincoln Electric evolves Cassandre’s idea further by constructing new shapes more in line with minimalist principles rather than art deco geometry — something clearly evident in Lincoln’s minuscules, which exhibit a clear connection to Bauhaus ideas More than 50 years after the typeface’s design, Thomas Lincoln found the original film alphabet tucked away in his archives and brought it over to Canada Type for digital retooling. The result is a modern and thoroughly elaborate set of fonts that belonging prominently in a 21st century designer’s toolbox. The following features are included in Lincoln Electric: • Three fonts for chromatic layering. • More than 1900 glyphs in each font. • Expanded Latin and Cyrillic character sets. • Small caps and Caps-to-small-caps. • Six different sets of stylistic alternates. • Ordinals and case-sensitive forms. For a showing of the stylistic set variations and a sample of demonstration of chromatic layering, please consult this PDF.

An authentic style of feminine handwriting with a pencil Who still writes by hand? And who still writes nicely? What constitutes beautiful handwriting anyway? In Marleen Script nearly 100 stylistic alternates for individual letters and more than 400 ligatures are included. With these options it is finally possible to convincingly simulate the effect of true handwriting with a typeface. So, the form of the single character seldom repeats itself since it is mostly replaced with a ligature; and, with each combination of characters the result is a slightly different form of the individual character. Type set in Marleen Script appears remarkably similar to a text actually handwritten with a pencil. The characters of Marleen Script have intentionally been digitalized as a bit loose and irregular. Stylistic alternates are available for many of the letters, some even with various alternates to choose from, in order to produce a font with a very lively appearance. This typeface also fills a completely different kind of gap: finally, a ”typically female“ font. Spirited capital letters, the tendency toward loops and the obvious inclination toward the left are all common characteristics of ”female scripts.“ The original for Marleen Script was created by Marleen Baumann from Augsburg in the spring of 2010 using a sharp pencil on rough handmade paper. In spite of irregularities, this font is aesthetical. Although most people rarely put forward an effort with their handwriting, in Marleen Script one can see the desire for an attractive form.

Milton Glaser on designing Babyfat: “This is the first alphabet I ever designed. For some inexplicable reason I called it Babyfat. Because I’m not a type designer, most of my alphabets are actually novelties or graphic ideas expressed typographically. Here the idea was to take a gothic letter and view it simultaneously from two sides. It started out as a rather esoteric letterform; it ended up being used in supermarkets for ‘Sale’ signs.” This forced perspective 3-D font has appeared on many LP covers and posters from the mid 1960s onward. This revival includes the original lowercase for the first time in digital form. Besides the three original styles (Outline, Shaded, and Black) made for photo typesetting, the new P22 Glaser Babyfat introduces six additional variations to allow the user to easily colorize the type as Glaser envisioned. The Keyline, Fill, Glyph, Left, Right, and Down font styles give the user nearly infinite options to create dynamic chromatic effects. P22 Glaser Babyfat was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

The Cholla typeface family was designed by Sibylle Hagmann in 1998-99 and named after a species of cactus she encountered in the Mojave Desert. Cholla was originally developed for the Art Center College of Design in Pasadena, California. There, art director Denise Gonzales Crisp and associate designer, Carla Figueroa, collaborated with Hagmann to create a series of fonts that would offer a great deal of variation. The variety was needed to echo the school's nine different departments, yet together the fonts had to exude a unified feel. It was first used in the radically designed 1999/2000 Art Center catalog which won a honorable mention in I.D. magazine and was featured in Eye No. 31. Originally Hagmann set out to design a typeface that, as she recalls, "I could feel comfortable making, first of all, and one that would serve a purpose and had a clear idea behind it, and something that I would want to use myself." Stylistically Hagmann set out to create "12 cuts with slightly different personalities, with different ideas applied. For example the bold weight isn't simply the Regular with weight gain, but has bold letterforms with their own peculiar details. What all weights share and what is the necessary unifying detail is the tapered curve - marked out, for example, in the lowercase b's left top and bottom of the bowl." Gonzales adds: "The forms seemed classical as well. This combination could have a long life, and be timely. I also saw - at least in the beginnings of Cholla - forms that connoted hybrid, of inter-connection, of human and machine growing together. These notions seem appropriate for a school that teaches design and art." Greek version by Panos Haratzopoulos.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

Shueitai is a typeface that has been undergoing development for more than a century, starting from the days when Dai Nippon Printing Co., Ltd. (DNP) was still known as Shueisha. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress. Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called "Shueitai" a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today. The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times. Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word. Currently, Shueitai is composed of 17 kinds of fonts useful for various purposes. The world has witnessed vast changes in the environment surrounding the printed world, with the tran-sition first from letterpress to Desktop Publishing, and most recently to e-books. But no matter how this environment might evolve, the written word remains the basis of communication, and the importance of beautiful and readable typefaces stays unchanged. In preparation for the changes that will inevitably come during the future, DNP will continue to evolve the Shueitai designs from now on. Through its continual reinvention, Shueitai, a typeface consistently adopted at the vanguard of the industry, perhaps represents Japanese innovation at its very best.

Suddenly...it’s the World of Tomorrow! With the push of a button Dynatype automates your typesetting experience. Dynatype is actually Two fonts in One–without switching fonts you can instantly change from Dynatype’s “regular” style to its alternate connecting version with the simple push of a button. For more details download “The Dynatype Manual” from the Gallery Section. What is Dynatype? Dynatype is the upright, slightly more formal cousin of Dynascript. It shares many of the characteristics of it’s slightly older relation, but is drawn entirely from scratch and has it’s own unique character. Dynatype may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. Its design also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this notion, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a font unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynatype’s 677 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynatype one should ALWAYS select the “Standard Ligatures” and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Typography enters the Space Age! Dynascript brings the ease of “Pushbutton Automatic” to your typesetting experience. Dynascript is actually Two fonts in One–without switching fonts you can instantly change from Dynascript’s connecting font to the non-connecting italic with the simple push of a button. For more details download “The Dynascript Manual” from the Gallery Section. What is Dynascript? Dynascript is the slanted script cousin of Dynatype. It shares many of the characteristics of it’s sibling, but is drawn entirely from scratch and has it’s own unique character. To some it may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. The design of Dynascript also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this claim, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a script unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynascript’s 694 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynascript one should ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

PRISMATIC INTERLACES TYPEFACE! Prismatic Interlaces is a decorative system and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Interlaces has two related families, both as a kind of lighter weight versions Prismatic Spirals Default & Pro. While Default is simpler or easier to use, same way as Prismatic Interlaces, Pro provides a more complex intricate Design that requires typing alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Interlaces Font Map Reference Interactive PDF Here! (!) Is recommended to Print it to have the Reference in handy or just open the PDF while composing a design with this typeface to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 49 are different keys repeated twice in both caps and shift, plus few more that were repeated for facilitating. It was settled this way in order for exchanging with Prismatic Spirals Pro font which has 96 different keys or 2 versions of each. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

Make your mark with Checkmark; a slick, high energy signature-style script font guaranteed to make a big impression. Digitally hand-drawn, it's super-clean smooth flow and high-intensity pen strokes make an unmistakeable impact in logo/branding projects, large header text and product packaging. Checkmark is packed full of extra features to give you plenty of customization options. This includes; a full set of upper and lowercase alternate letters, 20 ligatures (double letters) to help the script lettering flow more naturally, 26 swashes and a full set of lowercase end forms to give your text that extra flair and finesse. Here's a run through everything in more detail; Checkmark • A smooth-edged signature style font containing upper & lowercase characters, numerals, and a large range of punctuation. Checkmark Alt • This is a second version of Checkmark, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Checkmark Swash • A third font containing 26 hand drawn swashes. Simply type any a-z or A-Z character in this font to generate a swash. Perfect for underlining your Checkmark text and adding a bit of extra flair! Ligatures • 20 ligatures (double-letters) are included to help your lettering flow more naturally. Many programs will automatically have this feature switched on for you, but if you need any help accessing them, please feel free to drop me a message. End forms • Are available for all lowercase characters when using the Checkmark font. Use these characters at the end of your word to add a stylistic 'end-swash'. These are accessible via software with opentype capability, by turning on 'Stylistic Alternates', or via a Glyphs panel. Language Support • Checkmark fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.