This family was inspired from the set of font faces used in Amsterdam by Daniel Elzevir to print the famous “Tractatus de corde...” the study on earth anatomy by Richard Lower, in 1669. The punch cutter was the famous Dutch Kristoffel Van Dijk. In our two styles (Normal & Italic), font faces, kernings and spaces are scrupulously the same as in the original. This Pro font covers Western, Eastern and Central European languages (including Celtic), Baltic and Turkish, with standard and “long s” ligatures in each of the two styles. The Roman (Normal) style contains a U stylistic alternate, and the Italique style A.

Almost every type designer feels the need, from time to time, to interrupt his or her serious work on complex text type systems for something more playful. In Luc(as)'s case this has often meant designing more typefaces. In the early 1990s, while working on Thesis, Luc(as) drew several display faces which were based on the shapes of TheSans but were either de(con)structive versions or experimental variations. Jesus Loves You All is a heretic thorny typeface vaguely based on the outlines of TheSans. Jesus Loves You was given a remarkable three-dimensional treatment in Abbott Miller's Dimensional Type project.

Circulaire is a set of initial caps designed by Sjoerd Hendrik de Roos in 1926, and digitized in 2009 by Hans van Maanen. Unusual serifs, spurs and swashes make for interesting continuity points in the familiarly angled shapes, while adding a unique calligrapher's touch to the beheld forms. As far as initials go, this set contains the extra touch of personality needed to lead into a paragraph, which is preferable to the usual swashed italics that are widely used. Circulaire is available in all popular font formats and includes extended support for a wide variety of Latin-based languages.

Controlled casualness is the watchword in this new handwriting script from the prolific young French designer Éric de Berranger, who also designed the sans serif type family ITC Octone. ITC Berranger Hand has its roots in chancery calligraphy, yet its surface looks like contemporary informal lettering that was written quickly with a felt-tip pen on slightly absorbent paper. The counters of some letters appear to almost fill in from ink spread, yet Berranger Hand is admirably readable at small sizes. The capital letters are restrained, without swashes, so they can be used together in all-caps combinations.

Lempicka is a ligature-rich typeface duo with support for Latin and Greek. Lempicka Display and Small Caps are a pair of light, clean fonts with strong Art Deco character. Lempicka Display has over 150 ligatures and alternates (in Greek, too!), so it's extremely customizable and versatile. Lempicka Small Caps is Display's little sister: the perfect complement for creating hierarchy in a layout.⁠⠀ This is a beautiful typeface for wedding invitations and personal stationery, as well as unique logo design and branding projects. The name of this type family is an homage to Art Deco painter Tamara de Lempicka.

Medina Gothic is a three-weight sans serif inspired by Latin American moderne. It was designed in response to the 2002, Altos de Chavon design conference in The Dominican Republic, which celebrated utilitarian driven gestures in graphic design. "There’s a rigor to Medina Gothic that takes care of all sorts of tenets of a hard-working, highly legible, objective font. But at the same time, it’s human. All the curved terminals and open counter forms make for a sort of kindness. For all the discipline, it doesn’t sacrifice its friendliness." – William Morrisey, Professor of Typography, Parsons The New School for Design.

French Art Deco lettering found within the pages of the 1934 publication L'Art du Tracé Rationnel de la Lettre (roughly translated to “The Rational Path Art of the Letter”) have provided a number of designs well-suited for digital revival. A hand lettered sans with varying character widths was the basis for Colmar JNL, which is available in both regular and oblique versions. As the source of the lettering design was a French publication, the typeface is named for the city of Colmar, which (according to Wikipedia) is the third-largest commune of the Alsace region in north-eastern France.

The Cardea family of typefaces is the outcome of David Cabianca’s 2003–04 MA Typeface Design experience at the University of Reading. With Cardea, Cabianca intended to mix classical and modern characteristics, and in the process he created a typeface that “sparkles” on the page, with high contrast, luster and crisp edges. The result is a type with a muscular or sculptural feel much like the work of artists like Arne Quinze or Mark di Suvero. Cardea was designed to function as a text face. It features three weights each with accompanying italics, small caps and a variety of ligatures.

The type family in four basic styles was designed in ParaType (ParaGraph) in 1992 by Tagir Safayev. Based on Frutiger, of Mergenthaler Linotype, 1976 by Adrian Frutiger. Frutiger font was originally designed for use on signs at the new Charles de Gaulle Airport at Roissy. The straightforward sans serif shapes are suited well for both text and display setting. Six additional styles were added in 1998-2000. Multilingual versions of 6 styles (Light, Demi and Extrabold) include Armenian alphabet designed by Manvel Shmavonyan in 1997. Two condensed Cyrillic styles (Demi Condensed and Bold Condensed) designed by Manvel Shmavonyan in 2005.

Skaryna 2017 Title is a revival of the original typeface designed and cut by Francisk Skaryna in 1517–1519. Skaryna 2017 Title is designed to celebrate the 500th anniversary of the original work by Francisk Skaryna (lat. Franciscus Scorina de Poloczko) — scientist and educator from Polotsk (current Belarus). The original designs contain only Cyrillic characters. So Latin and additional characters were added to make the legacy of Francisk available for the World. The revival was designed to stay close to the original and remain a little bit inaccurate as early Renaissance printing technologies were. This project was sponsored by Anton Bryl.

Hi Designers. Everyone will try these soft and sweet typography at least once. All the angles and sharpness are transformed with soft and smooth. Each of these 18 styles has a unique personality and can be combined to showcase the designer's emotion more smoothly. Here is the advantage of being able to stay new without being bored. Of course, it can also be used in typography design for kids. And these soft styles include the following Ligatures. - La, Le, Lo, da, de, do, fi, fl, me, mo, mu, ne, no, nu, ta, te, th, to, tt

Pacaembu is a sans serif typeface that finds its roots in Brazilian football. This seven weight family began as a study of the stone lettering found in the Paulo Machado de Carvalho Municipal Stadium, affectionately known as the Estádio Pacaembu, a real gem of the Art-Deco style inaugurated in 1940. These art-deco letters, like football itself, were brought to Brazil by Europeans and out there in the tropics found a totally unique personality. Pacaembu is a celebration of Brazilian Football, it’s unique flavours, moves, sights and colors which have been delighting fans for generations.

If you take the South Shore Line from Chicago to South Bend, your train will pass though the small community of Beverly Shores, Indiana. The beautifully restored and highly colorful “Beverly Shores” train station sign not far from the Lake Michigan beach is the source of inspiration for this connecting script typeface. The sign’s existing ten letters have now been extended to include the entire alphabet. This old-fashioned depot letterstyle is much in the spirit of such faces as Fulton Sign and Inserat Cursive. Ascenders and descenders have been lengthened and capitals are now much larger. Alternate lowercase swashes, capitals, and small figures have been included for your convenience. And custom uphill words such as “The,” “for,” and “to” have been added for more novelty and spark in headline settings. Beverly Shores Script with Alternates is also available in the OpenType Std format. Some new characters including old style figures have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades. All aboard for Beverly Shores!

TT Geekette is an experimental variable* serif with friendly and flexible character of shapes. In this project, we wanted to get away from simplifications and dry geometry and to experiment with the smoothness, softness and plasticity of forms. And in order to make the project a little more stylish and serious, we decided to make the font monospaced. When creating TT Geekette, we did not rely on traditional writing techniques or on the influence of pen movement on the font pattern. Despite the fact that judging by certain characters TT Geekette is a serif, the font is specifically “built” and “drawn”. There are several systemic techniques in font design, such as “loops” which set the plastic rhythm for the entire typeface. Variability in TT Geekette is influenced by contrast buildup in the font—moving the slider to adjust the variability axis, you gradually move from a completely non-contrast monolinear serif font to a font with a pronounced reverse contrast. In addition, with the help of the variability slider, you can remove serifs from the monolinear essence of the font. The TT Geekette family consists of 3 styles: the TT Geekette Bones—monolinear font, the TT Geekette Muscles—reverse contrast serif, and the TT Geekette Variable font. Each style contains over 450 glyphs. And yes, technically the typeface can be used in programming, at least you are guaranteed to get your share of bright emotions. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Linotype Univers is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Space Armada - A Science-Fiction Font for Out of this World Designs! Space Armada is inspired by a 1980s interpretation of the future, referencing blockbuster sci-fi action movies of the period, along with the emerging video-game consoles and home computer technologies. It's nine unique fonts are designed to work together in a variety of ways, so you can layer it's different styles on top of each other to retro-futuristic effect!* Here's an example of how it works: Start by placing the Regular font on top of the Bold for a simple base outline. Add contrasting gradients to both fonts for an instant metallic or chrome effect. Take it a step further with one of the readymade Outlines for an embossed look. Overlay the Wireframe font for a glimpse inside the machine! This looks particularly good when you apply a glow effect and reduce it's opacity so the other layers show through. That's just one way to use it. Check out my visuals for more usage ideas! You can also follow my short tutorial! Space Armada is an all-caps font with unique uppercase and lowercase characters, along with a range of alternatives for experimentation with different looks. It also includes punctuation, numerals and language support, plus a selection of underlines and symbols. It's a highly customisable font, perfect for retro designs such as movie titles, posters, games, book covers and more! Every care has been taken to ensure that all fonts align perfectly when layering. Due to the variations in how different software handles text tracking, some minor tweaking may be required for pixel perfect alignment.

FangsALot is a bizarre typeface family that was designed to alternate two character sets. These sets are alternated automatically in applications that support the OpenType feature Contextual Alternatives (calt). The template used to design characters is a distorted triangle that resembles a curved tooth or a fang. This shape can be flipped horizontally, vertically, and both horizontally and vertically to give four orientations. Two of these orientations are used in the regular style and two in what is called the italic style. I thought the fang motif did not come through clearly in the regular and italic styles. Rather the impression they give is more like graffiti lettering. To emphasize the fang motif I added two more members to the family by filling fang outlines with unadorned sans-serif characters. Then to allow more color in lettering, I added two more styles with letters on black. I then had six styles based on triangles skewed left and right. Why not fill the family out with three more styles based on an isosceles triangle? The end result is a family of nine. All members of the family are monospaced and are hard to read. The three graffiti-like styles have some alternative letters that can be accessed with the OpenType feature Stylistic Sets. Also, for each style it is possible to use only one set of characters by adding a space after each letter and then adjusting the character spacing. The graffiti-like styles can be useful in situations where the hard-to-read property is not important but where a menacing and vicious touch is needed, such as topics of sharks, teeth, biting, and vampires.

Stone and steel FS Benjamin is a flared serif typeface designed by Stuart de Rozario. Consisting of 12 styles ranging from Light, Book, Regular, Medium, SemiBold and Bold with Italics it has clear, delicate letterforms, punctuated with brutal chiselled angles. With a pure and crafted feel to the forms the typeface has traditional roots but has been designed to work in a contemporary setting. Archetypal proportions in terms of x-height to cap height and ascender to descender ratio, allow the typeface to feel familiar and be legible in all platforms. Delicate brutalism Inspired by the contrasts of London and named after Big Ben, FS Benjamin was designed by Stuart de Rozario and founder, Jason Smith. Walking around London Jason was inspired by the juxtaposition of the old and the new. Glass and steel architecture can often be found amongst traditional signage and coats of arms seen around the City. These surroundings sparked an idea to create a modern design based on an alphabet that would traditionally be carved from stone. “Much of the typography we see today is so similar. I thought what if we created a typeface with traditional roots but modernised it to sit amongst the punk and noise of the streets of London? Old with new. Business with busyness. This is what London is all about.” Jason Smith

Berenjena is a captivating font family designed by type designer Javier Quintana Godoy in Santiago de Chile. Berenjena has the right combination of comfort in reading and a lyric spirit. This helps keep readers in the delicate atmosphere in which novels and tales can display all their charm. Most typefaces created for books cannot reach this. Either they are too expressive so they tire the eyes of the reader, or they are dull and reading becomes a tedious task. Berenjena was designed for text use bearing in mind this concept of subtle balance. Berenjena (Spanish for aubergine or eggplant) gives your text that spicy environment in which words shapes are easy to read while letterforms maintain their capricious feeling. It comes in roman and cursive declined in four weights: Blanca, Fina, Gris, Negra. All Berenjena character sets include extensive diacritics coverage for more than 200 languages plus the usual contextual features. The Berenjena Pro fonts (available at PampaType.com) include smalls caps, elegant ligatures, cute swashes, every kind of figures, and all contextual sorts. Berenjena will give your design a very individual character. It wears captivating details of calligraphic poetry which link subtlety to vernacular sign painting from Santiago de Chile. See a pdf of Berenjena here http://origin.myfonts.net/s/aw/original/306/0/156716.pdf or visit PampaType.com for more information.

Good Selection Font Duo and Extras is a modern scripts with handwriting, decorative characters, designed to perfectly combine informal, sassy, romantic, sweet scripts. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant like branding, logos, web design and editorial, prints, invitations, crafts, quotes, and more. Good Selection Font Duo and Extras features OpenType stylistic alternates, ligatures and International support for most Western Languages. 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. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Good Selection is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you have any question, don't hesitate to contact me by email : megatype04@gmail.com

Donita Script is a soft and beautiful font that has a connection to the upper part of the letter, this is something unique but very beautiful, luxury and charming. This font is to complement your design needs in making amazing works. Donita Script is perfect for branding, wedding invitations, magazines, mugs, business cards, quotes, posters, and many more that you can use on your big project will be very beautiful. Donita Script has been equipped with the OpenType feature and has many glyphs. and of course having a lot of flying machines will be able to choose letters to your liking, lots of variations and choices for each letter, so you can adjust your design choices and also have other languages ​​supported.which you will get in this package: This font is very suitable for use with programs that support OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign, and Corel Draw and many more programs that support OpenType. If you have any questions, don't hesitate to contact me via email at: hello.mrletters@gmail.com Thank you and happy designing :-)

A must have item for your design, here's the Standing Flower. Standing Flower is a handcrafted script font combined with a refined sans serif font which suit your needs. Together, these complementary fonts portray elegant and modern vibes. The script font has natural feel to it, thanks to the handwritten letters not always connecting-much like when someone is written in cursive for a while and adds their unique spin to it. Besides that, the sans serif brings a flare of modern and sense of elegance. The organic feel of this font duo is enhanced by the amazing features provided. Easy to work with and pleasant to look at what else can you possibly need? Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuation It works perfectly for for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Whitney is a modern script with handwriting, decorative characters, designed to perfectly combine informal, sassy, romantic, sweet scripts. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant like branding, logos, web design and editorial, prints, invitations, crafts, quotes, and more. Whitney includes OpenType stylistic alternates, ligatures and International support for most Western Languages. 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. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Whitney Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you have any question, don't hesitate to contact me by email :chaidirgata@gmail.com

Sottalica Script is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more, you can try first if you want to buy this font. Sottalica Script is equipped with 315 glyphs. and by having many of these glyphs there will be able to choose the letters according to your likes, lots of variations and options for each letter, so you can customize on your design choices. with pleasure and happiness, in this font package you will get: Sottalica Script OTF to use a variety of flying machines, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) if you have any question, do not hesitate to contact me by email mightype89@gmail.com Thanks and happy designing :-) Thank You for purchase!

Cyber ​​Graph is a rounded futuristic font with 2 styles light and regular. This font is very suitable for headlines, logos, movie titles, game titles, labels, sci-fi magazines, packaging, or all kinds of advertising purposes. This font is equipped with PUA Encoded so that the OpenType feature (ligatures & Stylistic alternates) can be accessed on design software such as Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. To access all characters in Microsoft Word "click Insert-Symbol-More Symbols" If you have any questions, don't hesitate to contact us; we will be happy to help. Support for 82 languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu.

U-P-D-A-T-E (more glyphs, bug fixed, MAC (Desktop) + WIN (Office) Version) CHARACTERISTICS An own interpretation of a classic egyptienne/slab serif typeface with modern and fancy handmade haptics/hatching. The 3 styles/weights fits perfectly in each font size. From light till bold. All 3 styles are handemade sketched for diverse display size. APPLICATION AREA This heavy, sketched, scribbled, handmade slab serif font “Hand Scribble Sketch Rock” with many language support would look good in head­lines. Magazines or web­sites, party flyer, movie pos­ters, music Poster, music covers or webbanner. TECHNICAL SPECIFICATIONS ■ Font Name: Hand Scribble Sketch Rock ■ Font Weights: Regu­lar, Bold, Light ■ Fonts Cate­gory: Dis­play for Head­line Size ■ Font For­mat: OpenType OTF + Windows TrueType TTF ■ Glyph Set: 361 gly­phs ■ Lan­guage Sup­port: Basic Latin/English let­ters, Cen­tral Europe, Bal­tic, Roma­nian ■ Spe­cials: alter­na­tive let­ters and liga­tures (with accents & €) ■ Design Date: 2013 ■ Type Desi­gner: Manuel Vier­gutz ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license

CONCEPT/ CHARACTERISTICS A serif type­face with modern and fancy hand­made hap­tics. Take the 3 lay­ers for uni­que designs and create many dif­fe­rent varia­ti­ons. From light and warm out­line (take the regu­lar style), about heavy and pithy fil­ling (take the bold style) till fancy and modern 3d shadows (take the 3d style). The com­bi­na­tion of all 3 font styles = bulky design free­dom. Game with it! Han­dem­ade sket­ched for dis­play size. APPLICATION AREA The vin­tage but modern, the raw but fri­endly serif font »Hand Retro Sketch Times« with many lan­guage sup­port (for a dis­play font) would look good at head­lines. Edi­to­rial Design (Maga­zine or Fan­zine) or Web­de­sign (Head­line Web­font for your web­site), party flyer, movie pos­ter, music pos­ter, music covers or web­ban­ner. And and and… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Serif Layer Font »Hand Retro Sketch Times« Open­Type Font with 341 gly­phs, alter­na­tive let­ters and liga­tures (with accents & €) & 3 styles & 3 lay­ers (regu­lar, bold, 3d)

Nuit, a delightfully handwritten family font with strong character designed by Carine de Wandeleer. Its slight bounce and intentional irregularity, gives your words a wonderful flow. The fatness and thinness of their strokes give an impressive harmony. This new font family includes Regular, Italic, Bold and Bold Italic. It has OpenType features such as Stylistics alternates, Swashes, Ligatures, up to four Stylistic sets by letter, initial and terminal forms in upper and lower, ornaments that allow you to mix and match pairs of letters and a Central European language support to fit your design. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. This will help your creativity and make it easier to make expressive and elegant your typographic work. Also with Nuit it is possible to write all in capitals. Nuit looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, business-cards and is perfect for using in ink or watercolor based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds! Nuit was made to make your project more beautiful and attractive.

Galia is a new font with a vintage character designed by Carine de Wandeleer, inspired by the beautiful look of Victorian calligraphy, capturing all the elegance of its flourishes. Galia has a variety of ornamental swash letters; hundreds of ornamental and descending ascenders allow a beautiful interaction of strokes and combinations, avoiding overlaps or conflicts. Galia has a total of 947 characters, in OpenType format, such as Stylistics and Contextual Alternatives, Swashes, Ligatures, up to twenty stylistic games by lowercase and three in the uppercase, which allow you to mix and match pairs of letters, in addition to a wide set of ornaments perfect for interacting with the text. To this, we add a support of central European language to adjust your design. This will help your creativity and make it easier to do the impressive and elegant typographic work. All OpenType features can be accessed through OpenType compatible applications or the character map to view and copy any of the additional characters you want to paste into your favorite text editor / application. With virtually endless ways to personalize its use, Galia helps you to design invitations, greeting cards, logos, business cards, fashion magazines, food, packaging and menus, book covers and whatever your imagination!

The Macarons font family consists of a monoline version, regular and bold weights, and a set of gestural catchwords, which reflects the use of the ruling pen as a freestyle tool. Ornaments and dingbats are also included. Macarons is a display type based on the classic Garamond typeface. It’s inspired by the foodie culture and the slow food movement, which began as a rebellion against fast food and has now grown to a global scale. Every day, thousands of people around the world take pictures of their food, look for new recipes to try and recover old ones, enjoy wine-pairing, and value locally produced food. Macarons is a fresh and spontaneous looking typeface that has been designed by Coto Mendoza, who also has developed a hand-made product line (Ride my Bike, Ride my Bike Serif, Four Seasons, D.I.Y. Time, Dans le Cuisine and In a Jar). This font is not constructed out of modules: each character is drawn by hand. Macarons is ideal for cookbooks, menus, liquor bottle labels, food packaging, wedding invitations, greeting cards, tea boxes, food blogs, small shops, cupcake bakeries and so on. Try! A freshly-baked homemade macaron!

Figaro is a very condensed slab serif design of the kind associated with nineteenth century advertising. The Figaro font has considerable weight contrast in the strokes, with a marked weight emphasis on the horizontal elements, including the serifs. Use the Figaro font for display and advertising and for 'Wild West' style posters.