Introducing Hoax – a pre-worn sans serif with spirit, personality and distinction. This bold and semi-condensed sans serif is inspired by old copy machines and vintage prints. It is lively and eye-catching, ideal for where and when you want to make a lasting impression. Hoax is a celebration of character, a tribute to curiosity. Use this typeface and let everyone know that you mean business. OPENTYPE FEATURES: This font includes over 40 discretionary ligatures of prepositions and common words in English. These OpenType features can be accessed using OpenType friendly applications that allow the use of discretionary ligatures and stylistic sets. MULTILINGUAL SUPPORT: With over 700 glyphs, it has support for more than 150 languages, including Cyrillic script. List of discretionary ligatures: AND, ARE, AT, BY, FOR, EST, FEAT., FROM, IN, IS, OF, ON, OR, OUR, THAN, THAT, THE, TO, WITH, YOUR, CO. Each word is available in both upright and slanted versions. How to use: Activate the discretionary ligatures as you normally do in your OpenType friendly application. When activated, the words are in upright versions. To access the slanted versions, activate the first stylistic set (“Slanted Ligatures”). Happy typing!

Graziella Script is a calligraphy script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Graziella Script Manuscript is attractive because it is smooth, clean, feminine, sensual, glamorous, simple and very readable, because of its many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . . . . . Graziella Script has 436+ Glyph alternative characters, including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results necessary for your creativity in combining these variations of the Glyph. I really hope you enjoy it! I can't wait to see what you do with the Graziella Script! Feel free to use the #Black Studio tag and the #Graziella Script font to show what you've been up to.

This version of News Gothic contains the Vietnamese character set. Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Body Types). The most obvious differentiation can be found in the spacing. That of the Body Types is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Body Types, fine spaces were created which prevented the smear effect on acute angles in small type sizes. For a number of Body Types, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Francesco Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms. He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details. The typeface name was chosen as an homage to the mythical homeland of the Norse Gods, evoking a land of fierce warriors, power and strength - but also of divine, delicate beauty. Thanks to the help of Andrea Tartarelli and Mario de Libero the original design was extended along with the design space, expanding the number of weights and widths with a "workhorse typeface" approach, and adding also a slanted axis to experiment with italics. The result is a super-family of 9 styles of 8 weights for a total of 72 fonts, each coming with an extended set of 968 glyphs covering over 200 languages using Latin, Greek and Cyrillic scripts. The three variation axes (width, weight, slant) are also all accessible in a variable font version that is included with the whole family. This gives the designer a full range of options for typesetting, with the Roman and Fit widths providing basic display and text-sized alternatives, and the Wide width adding more display and titling options. The inclusion of backslant italic styles gives Asgard an extra chance to add its voice to the typographic palette. To complement this, all Asgard fonts have been given a full set of Open Type Features including standard and discretionary ligatures, stylistic sets, positional numerals and case sensitive forms. Dynamic and expressive, Asgard is a super-family that manages to look brutal and refined at the same time, quoting the vernacular typographic practices of letterpress print while expressing the contemporary zeitgeist. • Suggested uses: perfect for contemporary branding and logo design, bold editorial design, dynamic packaging and countless other projects. • 73 styles: 8 weights + 8 italics + 8 backslant italics, 3 different widths + 1 variable font. • 968 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Slashed Zero • 219 languages supported (extended Latin, Greek and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük.

Mundo Sans, by Carl Crossgrove for the Monotype Studio, is distinctive, approachable – and ready to tackle jobs both big and small. Its open counters and large x-height, which give the design a straight-forward no-nonsense mien, are softened by inviting calligraphic undertones. With 10 weights and a complementary suite of cursive italics, there is little outside the range of the Mundo Sans family. The light weights are elegant in packaging and brochure design, the medium are easy readers in digital blogs and print periodicals and the bold command attention in banners and headlines. Mundo Sans is at home in a wide range of sizes, and comfortable in everything from wayfinding to mobile apps. Mundo Sans takes on complicated branding projects with efficient grace. The family enables companies and products to express their brand seamlessly in websites, advertising, corporate messaging, packaging – virtually everywhere visible engagement is possible. A large international character set, that includes support for most Central European and many Eastern European languages, ensures ease of localization. Mundo Sans was originally released with seven weights. The family was updated with three new roman weights and their italics in 2019 that extend and diversify its range of use: a fine hairline weight, a book weight, slightly lighter than regular, and a demi that is subtly lighter than the medium. The design is also is a good mixer. It easily pairs with everything from refined Didones to stalwart slab serif designs. And if you need a more harmonious palette, look no further than Mundo Sans’ relative, Mundo Serif. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Mundo Sans’ italics are true cursive designs, with fluid strokes and obvious calligraphic overtones. The flick of the down-stroke in the ‘a,’ the descending stroke of the ‘f’ and baseline curve of the ‘z’ add grace to the design and distinguish it from more mechanistic styles. Mundo Sans is a design with deep roots. It was originally drawn to pair with classic Renaissance book typefaces like Bembo® and ITC Galliard®. With a hint of diagonal stroke contrast and gentle flaring of strokes, Mundo Sans complements these designs with warmth and grace. Crossgrove says that Mundo isn’t meant to be showy or distinctive. It is intended to follow the tradition of sans serif designs that have a wide range of uses, enabling comfortable reading and clear expression. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the text designs of Monotype’s elegant Walbaum™ revival. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

Rolphie can be your go-to sans-serif, with 16 easy-to-read weights and 10 versions for each weight, and the subtlety of choice that represents. The versions contained in each weight are: Regular; Condensed; Half-Condensed; Expanded; Small Capitals: and their italic counterparts. (At heavier weights particularly it seemed to be justified to have two Condensed versions). Plus there's 20 funky versions with the letters all shook up (that would make a good title for a song), or jumbled around, plus some Shadow, Doubled-Up, College, and other FX versions. In total there's 180 variations, giving a comprehensive selection of both standard and funky fonts, and that subtle degree of choice of weight. To make things easier, the weights are put in ascending numerical order from 01 to 16, and the FX versions have been stuck in the 80s and 90s, (like two musicians I know). There are grouped packages available for certain weights (which have 10 fonts in them) and the complete family package (180 fonts) which represent better value than the individual fonts, and there's a basic package containing the Normal and Italic versions of all 16 weights (32 fonts). A limit of 5 sub-family packages has been imposed, unfortunately, which precludes a more comprehensive selection. To let you know what's in the font that you might otherwise never know about . . . With Discretionary Ligatures on, you get special characters if you type Mc St. Rd. Bd. Ave. c/o No. (p) (P) - include the full-stop/period. With Stylistic Alternates switched on, you get plenty of extra characters - including a WiFi symbol (type Wifi or WiFi) / bullet numbers instead of ordinary numbers / that different U-dieresis / special characters for c/o No. Mc / an upside down ~ / a huge bullet, and different forms for cent, dollar, percent, per-thousand. As you'd expect, there's all the accented characters for all Western European scripts using Latin letters, and standard ligatures, plus other Open Type features including Class Kerning, Slashed-Zero, Historical Forms, Sub- and Superscript numbers, fractions for halves, thirds and quarters, Ornamental forms giving bullet numbers, etc. There's also the main mathematical operators, symbols like card-suits and male/female signs and so on, and some more obscure stuff like schwa and O-horn, U-horn - and there's lots more if you can Access All Alternates. Much will depend on what your software recognises. The Small Caps versions have (intentionally) lost the ligatures for lower case ff, fi, fj, fl, fr, fu, ffi, ffj, ffl, ffr, ffu. The names for the weights are not absolute - we had to make up some names to make them stretch out to sixteen - so rather - see them as relative to each other, being in ascending numerical order by weight.

Palamecia is a typeface that embodies the very essence of organic design. It is a testament to the power of the creative process, one that is imbued with the spirit of experimentation and the thirst for innovation. Its unique appearance, at first glance reminiscent of a cartoon typeface, is just the beginning of what sets it apart from the competition. Palamecia was designed with a specific purpose in mind—to withstand the rigors of scaling and blurring on a variety of user interface devices. The creators of Palamecia recognized that the legibility of typefaces can be compromised by the impact of pixel scaling, and they set out to design a typeface that would not only overcome this challenge but also thrive in its wake. What makes Palamecia truly exceptional is its design process. Unlike many other typefaces, Palamecia’s designs were not born from pen strokes, but rather from cut-out silhouettes that were meticulously chiseled and chipped away. This unique approach allowed the designers to create a typeface that is both rugged and refined, with a natural aesthetic that seamlessly blends into any interface. The end result is a typeface that is both durable and versatile. Palamecia’s unique design allows it to pierce through any type of display, regardless of resolution, making it an ideal choice for designers and developers who are looking for a typeface that can deliver the goods under any circumstances. In conclusion, Palamecia is a triumph of organic design, a typeface that is as beautiful as it is functional. Its rugged yet refined aesthetic and its ability to withstand the rigors of scaling and blurring make it a must-have for any designer or developer who values both form and function. So why wait? Try Palamecia today and experience the power of organic design for yourself. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

In the world of typography, there’s always a desire for something new and innovative that can make your design stand out. If you’re looking for a typeface that is as unique as it is bold, look no further than Ulian. Ulian is a striking display typeface that fuses the best of two worlds: the flat sides of traditional blackletter and the contemporary shapes of modern letterforms. The result is a typeface with a refreshing twist that is sure to capture the attention of your audience. One of the most striking features of Ulian is its distinctive flat sides. These straight lines give the typeface a bold and confident feel, perfect for grabbing attention and making a statement. But Ulian doesn’t stop there; it also features elements of modern typefaces, including curved serifs and varying thickness in the strokes. The squared geometric typefaces have also been incorporated into the design, adding a touch of sleekness and modernity. This combination of traditional and contemporary design elements creates a unique visual impact that is both striking and memorable. Ulian also comes with a range of variants, including Regular, Italic, Bold, and Bold-Italic. This versatility allows you to use the typeface across a range of applications, from logos to headlines and everything in between. But Ulian doesn’t just look good—it’s also functional. In OpenType-capable applications, you can access old-style lowercase numerals, giving you even more flexibility in your designs. Overall, Ulian is a one-of-a-kind typeface that is sure to elevate your design game. With its distinctive flat sides, modern letterforms, and unique flair, it’s the perfect choice for anyone looking to make a dauntless statement. So why settle for ordinary typography when you can have Ulian? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

"Fashion Experiment" is an all-caps handwritten display font featuring a funky and expressive gel pen-style that is perfect for creating impactful header text, poster designs, album covers, product designs, and merchandise. The font's unique and playful appearance is crafted to maintain an authentic look, with alternative letters and ligatures adding to its creative potential. The font includes alternative letters and ligatures coded for uppercase letters. The font also features more than 100k kerning pairs, ensuring optimal precision and readability. To maintain the authentic appearance of ligatures, this font was crafted from the handwritten text. However, as ligatures that complement one combination of letters may not work for another, it is essential to have the option of switching to alternate letters or avoiding the use of ligatures altogether. The frequency of use for certain letters varies, resulting in some letters having more alternates than others. For example, letters such as A, E, L, M, S, and T are more commonly used than letters like X, Z, and Q, which explains the difference in alternate options. We recommend using programs that support OpenType features to fully access the font's features. This will allow you to access glyphs directly on the same panel without copying/pasting each glyph. Additionally, the OpenType panel allows you to turn on standard ligatures, which can automatically change letters for available ligatures. Even if you are using a program that does not support OpenType, you can still access the alternates and ligatures of this font through Fontbook or Character Map, as the glyphs are PUA-encoded. However, please note that you will have to copy and paste each ligature or alternate individually, which can be time-consuming and require extra effort. Happy designing, Gulya

Simpaty Handwritting Signature Font is a stylish and elegant typeface designed to mimic natural handwriting. The font features smooth and flowing lines, giving it an authentic and personal touch. It is a versatile font that can be used for various design purposes, such as branding projects, wedding invitations, romantic themes, studio branding, logos, social media posts, clothing designs, posters, cafe or restaurant signage, and more. The font includes both uppercase and lowercase letters, numbers, and punctuation marks, providing a complete set of characters for your design needs. Additionally, it offers standard and special ligatures, allowing for beautiful and seamless connections between letters. Simpaty Handwritting Signature Font is compatible with both PC and Mac operating systems, and it can be easily installed on your computer. You can access and use it in popular design software like Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even Microsoft Word. This accessibility makes it convenient for users with different design software preferences. Furthermore, this font is fully functional and does not require any additional design software or plugins to be used effectively. It provides a hassle-free experience, allowing designers to create stunning and professional-looking projects with ease. In summary, Simpaty Handwritting Signature Font is a versatile and user-friendly typeface that adds a personal and sophisticated touch to various design projects. Its natural handwriting style and comprehensive character set make it suitable for a wide range of applications in both print and digital mediums. Features; Uppercase, Lowercase, Number, and Punctuation - Standart and Special Ligatures - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. Mültîlíñgúãl Sùppört Hope you enjoy our font and this font is useful for your projects!

Circe Rounded is an extension for a popular Circe typeface, with rounded terminals. Bold and ExtraBold faces have two variants with different radius of the roundings. Circe Rounded is even more friendly than the original Circe. The typeface is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015. It is known that the Circe typeface is distinguished by mild and humanist nature being formally a geometric sans-serif. However, as an experiment we decided to make it even softer: Circe now has a version with rounded terminals — Circe Rounded. Rounding is generally regarded as a mechanical operation, but in this case a lot of manual adjustment was needed because of the humanist nature and peculiarities of type design. Moreover, the two bold styles now have two options: a basic one is slightly rounded and an alternate one is fully rounded. In Circe Rounded we decided to dismiss characters with swashes that are rather inappropriate in such a rounded font, but the stylistic sets and alternate characters are remaining. Rounded terminals make an open and friendly typeface even more childish. For example, in quite large point sizes (because the x-height is still not big) it can be used as a body type in infant books. Circe Rounded, similar to Circe, has alternative forms of lowercase characters, which are called “infant” and are used in publications for children’s reading. However, a humanist basis is preserved alongside with its softness and it does not allow it to be as “plasticine” as many other rounded fonts. Two of the most obvious areas of possible application of Circe Rounded are everything for children and everything edible, especially all that is sweet and puff. However, we believe that there are other options.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

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. 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. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

Any typeface has two intrinsic elements that does´t work at the same levels, form and appearance. These peculiar visual behavior generate a wide range of graphics games. At reading level, we observe a uniform gray spot, but large bodies allows us to appreciate their shapes and counterforms. Milio takes this duality to offer unparalleled service in newsprint and magazine publishing, specially in small bodies but hard and formal cogency in titling. Its wide variety of weights, 10 in total, together with a slight condensation allows us to save space without losing legibility, even under poor printing conditions. Its basic quasi humanistic forms include support for a wide range of details that give great originality and strength. A friendly appearance, but a strong, all-road typeface with internal forms that reinforced visibility in small sizes thanks to its high average eye and the contrast that generates its soft curved external and internal squared angles. The nuances here are fundamental and explain its powerful large sizes, where you can see these contrasts between the curved, organic, humanistic, and straight, angled, almost mechanical shapes. Milio has the bonus of a large multilingual support for all alphabets based on the Latin and Cyrillic, as well as large Opentype features for expert users, among which we have true small caps, ligatures and automatic contextual alternates. Several sets of numerals for use on tables and other “delicatessen” as fractions are also included. Having in mind the daily struggle in newspaper and magazines´ edition, Milio has been designed with the idea of being Cinta´s perfect couple, a similar contrast and proportion typographic san serif family produced by the same Foundry as Milio, to cover almost all the graphic needs in actual DTP.

Brainly Script is the font of choice for writing things that go beyond words. This font type is designed with high detail to deliver stylish elegance. So, it can be said, the character of the change is very beautiful, a kind of classical decorative copper script. Brainly Script presents alternative variants of most letters, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, personal stationery, and compositions for certain brands, beautiful titling, verses, letters and short texts, which are intended to be read only with the eyes or intended to whisper into someone's ear. Brainly Script has 792+ glyphs and 534 alternative characters, including various language support. With the OpenType feature with an alternative style and elegant binder. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining these Glyph variations. 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 "maximal.fonts@gmail.com" Thank you for watching!

Some typefaces need time to ripen; Burian and Scaglione made the first sketches for Ebony back in 2008, but it took a few years of maturing in a drawer to be developed into a multi-functional type family. While keeping in tune with TypeTogether’s focus on complex typographic structures needed for magazine, newspapers and books —whether printed or digital—, Ebony goes far beyond editorial use and promises great performance in branding and advertising. The range of dark weights with taut and powerful curves can boost any headline, while the lighter styles create an approachable and clean feel in blocks of continuous text. Ebony does not fall short on aiding legibility either; letterforms have a distinct direction of ductus and features like the top serif on ‘l’ help making them clearly distinguishable from each other. It is a type family that cleverly seeks a balance between the openness and legibility of humanist sans serifs and the striking and more regularised character of grotesques. The letter-shapes feature generous counters and open terminals with crisp angles, and daringly grow both in colour and width as the fonts get bolder. Infused with this strength, Ebony also shows a quirky side in some of her shapes; the vertical fractions, the at-symbol, the old-style numbers, … The predominantly slanted style of the italics is broken up in some letterforms, such as ‘a e f l’, that are more in line with a classic cursive appearance. This, together with a forceful italic angle, ensure a change in texture within a block of text, despite sharing the same letter weight and width with the uprights. With 18 styles, tending towards the heavier part of the weight-spectrum, this face has a powerful quality!

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

"PGF Caprina Pro" is an audacious and rough geometric sans-serif font inspired by the wild and untamed personality of mountain goats (the word "caprina"‘ in Spanish is related to or resembling ‘goats’)—amazing animals which can skilfully climb up slopes and withstand very cold temperatures. Was originally developed under the Latinotype team supervision and is now upgraded to this Pro version that comes in 20 font styles, with 739 glyphs each, supports now more than 200 Latin-based languages and includes a wider OpenType features range like: Stylistic Alternates ‘set 01’ for b, d, g, p, q, i, j, t, y, &, I, G, M Stylistic Alternates ‘set 02’ for d, g, j 4 Stylistic Alternate from ‘set 01’ to ‘set 04’ for Enclosed Numbers (circles and squares) Stylistic Alternate ‘set 05’ for curved 3 and ‘Zero with dot inside’ Contextual alternates automatically turns ‘zero’ into a ‘slashed zero’ in alphanumeric contexts Contextual alternates automatically turns “Il” into a serif for improve its legibility Case Sensitive when "All Caps" is activated for ß, ¡, ¿, () [] {}, ‹› «», •(bullet), *(asterisk), -(hyphen) Standard Ligatures for fi, fj, fl Discretionary Ligatures for tt, tr, www, LL, TT Lining Numbers Old Style Numbers Tabular Lining Tabular Old Style Numbers Slashed zero on every number figures Numerators and Denominators from 0 to 9 for any Fraction expression Superiors and Inferiors from 0 to 9 for any scientific notation Ordinal forms for ‘a’ and ‘o’ Localized language customization for German, Dutch, Polish, Catalan, Romanian, Moldavian, Turkish, etc. Every OpenType option is also accessible via Character Map allowing users and designers to choose an alternate design for a particular character. “PGF Caprina Pro” is well-suited for high-impact action publishing and advertising as well related with adrenalynic and extreme sport design stuff.

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

Mantika Book expands the Mantika super family: a contemporary serif font with a soft, yet robust character and a classic lookMantika Book, an Antiqua, is the third member of the Mantika super family, which consists of the Mantika Sans and Mantika Informal. Designer Jürgen Weltin has gone back to the roots of his font, which he had originally derived from a Renaissance Antiqua. These origins are recognizable in the first member of the Mantika family, Mantika Sans, in the form of carefully suggested line use and a contrast in the weights that recalls the Antiqua. This solid sans serif, optimized for use in text, also has a particularly energetic and dynamically designed italic. Mantika Informal also brings to mind a cursive font at first glance; ultimately, however, it is not easily categorized. Its light, organic shapes combine the informally flowing style of cursive handwriting with the open and airy form and contrast of a humanist sans serif. The shapes in the serif Mantika Book are also based on the Renaissance Antiqua, just like the other members of the Mantika super family. However, the contrast in the weights is somewhat stronger than is conventional for this genre, and the serifs are characteristically asymmetrical, with slanted ends. Lightly grooved stems with an implied curvature in the lower-case letters as well as dots whose shape flirts with a fountain pen lend the Mantika Book a dynamic and particularly friendly character. Details like the open "g" or the contoured foot of the "k" emphasize this dynamism. The letters of Mantika Book have the same large x-height as the other members of the super family, but are equipped with somewhat longer ascenders and descenders.

Cinque Donne means “Five Women” in Italian. It was inspired by the five sisters in my family as well as a group of five high school friends I have known for 46 years, aka “The Club Girls”. The Pro version has 3370 glyphs with all the bells and whistles! Women are connectors, encouragers and supporters. Young, old, shy, extroverted, when you put us together, somehow we make a beautiful impact on each other’s lives. This is what Cinque Donne does in a visual way. Some letters are simple and prefer to sit quietly. Others are flourished and proud and like the limelight in the middle of a word. And then there are alternates that are flexible and work in any number of surprising places. Stylistic sets can add a vivacious feel while contextual alternates bring better understanding. Classic or contemporary, subdued or flamboyant, these letters represent the variety of women that make life interesting for us all. Within the varied glyphs, I hope you find characters that remind you of the special women in your life. Let Cinque Donne salute them on the page! The Cinque Donne Family includes: Cinque Donne, Cinque Donne Bold, Cinque Donne Swash and Cinque Donne Pro. Check out the Buying Choices tab to see special discounted combinations! Crafters: All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. Cinque Donne Pro and Cinque Donne Swash include Swash, Stylistic and Titling Alternates, Contextual Alternates, Standard and Discretionary Ligatures, Roman Numerals & Fractions.

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Generale Script is the font of choice for writing things that go beyond words. This font type is designed with high detail to deliver stylish elegance. So, it can be said, the character of the change is very beautiful, a kind of classical decorative copper script. Generale Script presents alternative variants of most letters, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery, and compositions for certain brands, beautiful titling, verses, letters and short texts, which are intended to be read only with the eyes or intended to whisper into someone's ear. Generale Script has 300+ glyphs and alternative characters, including various language support. With the OpenType feature with an alternative style and elegant binder. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining these Glyph variations. 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. :) Thank You, Alpha Bento

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Alfarooq is the most widely known epithet for the Islamic figure Umar ibn al-Khattab (c. 586 - 644) who was a leading companion and an adviser to the Islamic prophet Muhammad (peace be upon him) who later became the second Muslim Caliph after Muhammad’s death (pbuh) in 632. Muslims widely know Umar ibn Al-Khattab (may Allah be pleased with him) as Alfarooq (i.e., he who knows and distinguishes between truth and falsehood). Alfarooq is a unique, wide, and headline Arabic display typeface. The main trait of this typeface is the novel design of its letters' tails and its dots which renders it as one of the modern stylish typefaces used for headlines and titles. This can be noticed in different letters such as Ain, Ghain, Jeem, Khah, Seen, Sheen, and others. In addition, Alfarooq font has an Arabic character set which supports Arabic, Persian, Kurdish, and Urdu letters and numerals with a limited range of specific Arabic ligatures. This typeface comes in two ultra-bold styles (i.e., Alfarooq and Alfarooq-Pro) and more than 430 distinctive glyphs with a single weight for each style. Alfarooq typeface effectively offers diverse typographic and digital usages including mainly the very large and wide poster-size works. Due to its strong baseline-stroke, Alfarooq typeface is appropriate for heading and titling works in Arabic, Persian, Kurdish, and Urdu newspapers, magazines, and other printed materials. It is also elegantly suitable for signs, book covers, advertisement light boards, street and city names, products- and services names, and titles of flyers, pamphlets, and posters. The wide style of Alfarooq font’s characters gives it more distinction when it is used in greeting cards, covers, exhibitions' signboards, external or internal walls of malls, and also the exits and entrances of airports and halls.