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

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

Buntypes Bunaero™ combines classical and contemporary characteristics to a unique and distinctive font family with extravagant but also harmonious appearance. The characters are clear, open and sometimes bellied. Especially the caps have a very high waistline. Based on this, four main states with different moods have been composed: The original Bunaero™, the more conservative “Classic”, the elegant and curvy “Up” and the matching ”Italic”. All states offer weights from a considerably thin „Hair“ to a real fat „Heavy“, so the family consist of 34 Styles, all with rather narrow width and very good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure flawless appearance in all media. It supports at least 99 languages incl. Vietnamese and provides ligatures, alternative glyphs, special localized forms and even more enjoyable OpenType® features. This Pro version of Bunaero also includes a lot of features for sophisticated users: Lining figures for headline setting; Intermediate linings and oldstyle figures for text setting; Tabular versions of all figures; Superiors, inferiors, numerators, denominators and automated fractions; Language specialities like a capital Eszett for the german language and extra characters with a polish kreska instead an acute; And many more. Further information: Bunaero™ Pro Specimen PDF Bunaero™ Pro OpenType® Quickguide Feature Summary*: -4 Moods: Normal, Classic, Up and Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european and vietnamese languages -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, i, k, l, t, v, w, y, J, K, Q, R, and more -6 sets of figures: -Capital sized figures, oldstyle figures and intermediate figures, each in proportional and carefully adjusted tabular versions -Superiors, inferiors, numerators and denominators -Circled and negative circled figures -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -Extra characters with alternate minmalistic Cedille -Arrows -Automated feature for fractions as well as extended fraction character set -More than 1000 characters per font * Some features may only be available in OpenType®-savvy applications

Based on the lettering used on Alan Turing’s famous code-breaking machine at Bletchley Park, the “Bombe”, and the subsequent British answer to the German Enigma machine, the Typex. Research done at Bletchley Park on their restored and antique machines provided the inspiration. The unusual shapes for the capitals have all been retained - the square O, the monospaced characters and other eccentricities that make it unique. This reference material was then extended to the numerals (which did not exist in the original) and a full international character complement. The initial design of the bombe was produced in 1939 at the UK Government Code and Cypher School (GC&CS) at Bletchley Park by Alan Turing, with an important refinement devised in 1940 by Gordon Welchman. It was based on a device that had been designed in 1938 in Poland at the Biuro Szyfrów (Cipher Bureau) by cryptologist Marian Rejewski, and known as the "cryptologic bomb" (Polish: bomba kryptologiczna). The Bombe was used to break the German Enigma code on a daily basis, and was a vital part of the Allied war effort. The British “Typex" (alternatively, Type X or TypeX) machines were an adaptation of the commercial German Enigma with a number of enhancements that greatly increased its security. It was used from 1937 until the mid-1950s, when other more modern military encryption systems came into use.

Bodrum Collection: 1- Bodrum Sans 2- Bodrum Sweet 3- Bodrum Stencil 4- Bodrum Slab 5- Bodrum Styte 6- Bodrum Soft "Bodrum Sweet" is a sans serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. "Bodrum Sweet" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. "Bodrum Sweet" some corner is rounded. These nuances aid in legibility and give "Bodrum Sweet" a harmonious and sensible appearance for both texts and headlines. Bodrum Sweet provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Sweet 14 Regular” forms the central point. "Bodrum Sweet" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Sweet is the perfect font for web use. You can enjoy using it.

Halfroy is our answer to generic geometric sans trends exploding nowadays who creates sameness. Halfroy brings new sans perspectives by combining rounded and sharp edges to create delicate sans fonts. See the difference by looking at counter-shapes compared to outline, insides counter shapes you will sees a sharp edges while round but not geometrical on outlines. Halfroy gives your project unique visual impact whatever your design project is, but we recommend using thin, semibold to Fat as display then light and regular. Halfroy taken inspirations not from looking at other sans typeface, but its design inspirations comes from observing a land contour and geographical statistics in our city, Kota Batu. We found that our city geographic consist of steep slope like waves with sharp peaks and surrounded by small and third highest mountains peak on our country. From then on we begin visualize and applied on few letters. Take a look on our 'O', 'f', 's' letters, its like a stone carved letters. Its hard edges and soft edges outline clearly draws from our inspiration source. Even Halfroy looks stony, hard as individual letters, we treat this type with humanist approach in mind. Therefore you can sense a friendly yet casuals of typical sans serif fonts when it grouped together to form a words or sentences. We hope Halfroy will gives your design project a unique on its own.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in a magazine from the Otto Maier publishing house, Ravensburg, which was issued sometime in the years shortly before WWI. The magazine is entitled ”Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete“ (Collection of scripts for technical specialists: reduced scripts of the most significant alphabets) and published by Karl O. Maier. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. The characters have been scanned, digitized and greatly magnified. Special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch. Especially worthy of note are the Jugendstil forms characteristic at the turn of the19th century. In comparison, many alleged ”ultramodern“ font types of today suddenly look quite old-fashioned. Maier’s Nr. 21 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

Rocka & Billy is a bold script font inspired by Retro and Modern hand lettering style, so you can use this font into any style of your design. It includes standard Multilingual support and OpenType features such as Standard Ligatures, Discretionary Ligatures and Stylistic Sets (ss01 - ss09). Rocka & Billy is great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Instagram Design, T-Shirt/Apparel, Badge, Packaging, Poster, Magazine, Book Cover, Quotes, Signs, Advertising Design, and any design needs. You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Mix and match the alternate characters to add an attractive message to your design. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Need help? Please, Feel free to contact me by e-mail yyudhara@gmail.com for any question about my font, Extended License document and more. Good Luck and Have fun ! YdhraStudio

Chicago Ornaments is a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of 139-141 Monroe Street in Chicago, Illinois. This collection was shown in their 1890 Price List. According to William E. Loy, at least some of them were designed by William F. Capitain. Chicago was one of the innovative Midwest type foundries, introducing the American Point System. These designs represent the late Victorian period. After 1890, with the posters of Jules Cheret taking Paris by storm, Art Nouveau gradually began to displace Victorian style. In type design, both styles competed against each other until about the end of the century. Designers may want to consider using these ornaments when using Victorian style typefaces, like our Cruickshank, Edison and Freak - as well as faces by others such as Karnac, Kismet and Quaint Gothic. Included in the font are a set of Dormer-inspired caps, numerals and a few other glyphs - also from the Victorian period.

FF Mutual is a friendly geometric sans serif full of subtle, unexpected details. Designer Luis Bandovas drew inspiration from an unlikely source—the credits from one of his favorite childhood shows, Space 1999—and turned that spark into a typeface that is warm and approachable, but contemporary. Bandovas built FF Mutual on a geometric skeleton, but the typeface has enough humanist touches to offset the rigidity usually found geometric designs. These touches are most apparent in the italics, where curved strokes on the “a” and “l” bring a softness to text. Generous spacing, angular details on letters like the “r” and “t,” and flared terminals on the “e,” “s,” and “c,” add further character to the design. FF Mutual’s bold shapes and retro-inspired warmth make it ideal for headlines, where the subtle details can really shine. The typeface is similarly well-suited for small blocks of text such as captions and call-outs, packaging design, and branding.

The typeface LECO 1988 is another font family which belongs to LECO set. It is a display typeface, which is inspired by the title written on the bottle of lečo from 1988. Its typical features are embedded diacritics and significant black look with low contrast. Lower case is united with upper case and has several identical glyphs in both forms. Font contains alternative set of glyphs for letter „E“. Tabular numerals, superiors and inferiors and the full set of (glyphs - symbols) for languages using the Latin alphabet are also included in this font. LECO 1988 font family includes six specific styles: Regular, Blind, Gradient, Outline, Shadow and Stencil style. Those styles extend typographic options by mutual combination or overlapping, whilst every style share the identical metrics and kerning. Font format is Open Type with the support of several open type features. This typeface is suitable for creating logotypes, powerful posters or can be used as a headline display typeface.

Strak is a font that was born out of admiration for the work of E. Vermeulen, a Belgian artist known for his tight, precise line and an unseen masterpiece that is spread around the world. He has published and exhibited his work in London, Liverpool, Angoulême, New York, Geneva, Amsterdam, Lyon and Turku (in Finland) and he even signed for the New York Times. Based on a few characters, a complete font was composed by Kustomtype. After a few sketches, Strak came to life. The name Strak, in this case, refers to the slender, beautiful woman with the correct waistlines and proportions. The font is designed this way; it is completely hand-drawn, digitized and can be used in all modern and graphic media. Strak is available in 8 different styles, has class and will make many people's mouth water when they see it on your designs. Do you want quality and style? Then Strak is the font-perfect solution!

The Core Sans B Family is a part of the Core Sans Series, such as N, NR, N SC, M, E, A, D, G, R and BR. The family has very small x-heights and large ascenders(descenders) which give an elegant feeling in body text. It is a sans-serif family but it’s structure is similar to serif fonts, so you can make paragraphs beautiful with this font family. It is very legible and readable even in small size because of its open counters and distinctive shapes. This font family consists of 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) and Italics for each format. Core Sans B supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Spiraltwists is a family of 2 fonts giving assorted spiral shapes. In each font they're grouped in fours - the same basic spiral in 4 different orientations (N S E W almost), and Spiraltwists has solid lines making up the spirals, Spiraltwists Antique has dotted lines making up the spirals, giving them an antique or rustic appearance. Spiraltwists has heavier spirals on Upper Case, lighter spirals on lower case; plus a group of spirals with a straightened outer end and connecting lines so you get two spiral scrolls joined together by a long line at the top or bottom. (inputting UVWXYZ into the text-box on this webpage will show it). The big example on the webpage shows it all more clearly than any explanation. A fuller description, plus the above example, are included in the zipfile. Please note: for the avoidance of doubt, the font does not contain any letters, the text in these 2 examples is not Spiraltwists but Luzaine.

Haydes is a hand brush typeface with authentic clean brush imperfections. Haydes includes many different alternates for each lowercase and uppercase letter. It's extremely fun to use as each word can be transformed to your liking. We also include a bonus swash weight to make your design look more awesome. Haydes also has a standard Multilingual Support. Haydes is great for Branding Design, Logo Design, Digital Lettering Arts, Poster, T-Shirt/Apparel, Magazine, Quotes, Signs, Instagram Designs, Advertising Design, and any other type design needs. You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Mix and match the alternate characters to add an attractive message to your design. Need help? Please, Feel free to contact me by e-mail yyudhara@gmail.com for any question about my font, Extended License document and more. Good Luck and Have fun ! YdhraStudio

The Bitstream version of Trump Mediaeval of Linotype, 1954-60, by Georg Trump, a prolific German type designer. It seems to be his best typeface. It has a vigorous and assumed oldstyle roman and italic that is the sloped roman, except for the letters a, e, f. With its crisp angularity and wedge-shapes serifs, Trump Mediaeval appears carved in stone. It is a strong text typeface that is highly legible and especially useful for low-resolution output. It is useful in display work too. Cyrillic version developed for ParaType by Vladimir Yefimov and Isabella Chaeva and released in 2010. Cyrillic italics maintain the main feature of Trump Mediaeval to be the sloped roman, except for the letters г, д, и, й, n, т. There are old style figures, additional ligatures and fractions available at all styles and small caps at the Roman 55. Black style was added in 2011 by Vladimir Yefimov.

Guess is a versatile, connecting script, designed to convey elegance and style. It is slender, feminine and friendly, let alone sexy. Guess will work perfectly for fashion, e-commerce brands, trend blogs, or any business that wants to appear classy and chic. The font is ideal for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, ads and the various web usages. When it comes to the glyph set, well, Guess Pro has quite a lot of that (2500+ glyphs) - think multiple languages and tons of swashes and stylistic alternates to unleash your creativity. For all pragmatists out there, there is also a basic version of the font with an extended latin glyph set (no swashes, contextual alternates or stylistic sets). Last, but not least, Guess comes with a neat geometric sans in capital letters, which makes a great addition to the script, and a set of beautiful ornaments and borders that complete the whole look with a bang.

Greenlight Script is a new and fresh font script that comes in a vintage and neat style. so this font can be used easily, even in mixing and matching with other fonts. so that it can provide alternatives and new sensations for designers or craftsmen, in working on various projects. Greenlight Script comes with uppercase letters, lowercase letters, numbers, punctuation, and so many variations on each character including OpenType alternatives, and general binders to allow you to customize the design. This font is perfect for all your projects such as wedding invitations, greeting cards, branding materials, business cards, quotes, posters, badges, badges, greeting cards, vintage logos, or you can use these fonts for various logo projects and more. ! The following characters are ideal for creating interesting messages, mixing and matching Greenlight Script with a group of alternative characters that are suitable for your project. Mail support: If you have any question, please contact me Via e-mail "greatstudio92@gmail.com" Thank you, Great Studio

Kimberly Script is a contemporary calligraphic typeface, a mixture of retro script. get a classic and elegant touch. Can be used for various purposes.such as logos, wedding invitations, t-shirts, letterheads, signage, labels, news, posters, badges etc. Kimberly Script features 583+ glyphs and 350 alternate characters, ligatures, swash and multiple language support. 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. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Files include: Kimberly Script.OTF Kimberly Script Bold.OTF Kimberly Script Italic.OTF If you need help or advice, please contact me by e-mail Thank you

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

First conceived as the upper-and lowercase “e” for the logotype of independent publishers Elemental Editions, the letterforms were so well received that they were extended to an entire typeface and formed the basis for a bespoke font – Eef. The type design draws inspiration from the basic elements, the periodic table, functionalist vintage lettering and influences from other classic geometric typefaces with condensed cuts such as Futura and Trade Gothic. The extended set is now developed into a family consisting of three weights – Regular, Medium and Bold. While developing Eef it has been crucial to maintain the integrity of the geometrical shape in each glyph as much as possible, but also add subtle optical adjustments to make the forms more balanced and harmonic. Due to its detailed balance of simplicity, aesthetics and playfulness Eef works perfectly well in a corporate context as it does in editorial use or poster design. Eef feels most comfortable with text ranging from display to medium size.

Jim Parkinson's Diablo typeface is a single weight display design. The look comes from samples found in early 20th century books on hand-lettering books, as well as general poster lettering styles from that same of the period. Diablo has a touch of the Arts and Crafts" movement in its appearance, and it also looks rather heavy. It is a unicase design, in that there is no real "lowercase." Some glyphs on the uppercase keys are alternates to the capital-style forms found on the lowercase keyboard, like A, E, F, H, J, K, M, N, Q, R, V, W, and Z. In fact, the uppercase itself is a bit more decorated and round than the lowercase. Nevertheless, the upper and lowercase letters may be freely interchanged with each other to create the best possible image for the text. The name of the typeface, Diablo, is another term for the devil, or Satan."

Core Sans AR Family is a rounded version of Core Sans A that is clean, simple and highly readable. It is a part of the Core Sans Series such as Core Sans N, Core Sans M, Core Sans E, Core Sans A, Core Sans D, Core Sans G, Core Sans R and Core Sans B. Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans AR family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans AR contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Thirty years after its first appearance, Jovica Veljović has produced ITC New Veljovic Pro, a completely revised edition of his first typeface, ITC Veljovic (1984). Prof. Veljović has tapped into all the experience he has garnered over the past decades; by carefully adjusting the proportions of the characters he has provided the new typeface with a more harmonious presence. The serifs have been subtly curtailed and the letters made slightly more condensed. Some new features of ITC New Veljovic are the double-story “g” with its completely closed loop and the more open forms of the “c” and “e”. In the italic variants, the latter is much rounder. Thanks to Veljović’s outstanding work, the optimized ITC New Veljovic can now be used in all contemporary applications. The new Condensed style saves considerable space when it comes to setting longer texts. The Display versions show off the striking, crystal-clear shapes of the design at their best in larger point sizes.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

Introducing Wanderly Sans - Wanderly Sans is a sleek, modern font. Its contemporary aesthetic makes it a perfect fit for effortlessly designing logos & branding, elegant paper products like wedding invitation suites, or for displaying content on your website. Wanderly Sans can also be used for other print design like magazines and flyers or printed marketing materials. This font can also be used for digital marketing materials and social media items! Wanderly Sans includes: - full upper + lowercase characters - numbers + punctuation - 10 alternate characters - A, E, K, M, N, P, R, f, j, t - PUA-encoding Extensive Language Support: Western European, Central European, South Eastern European, South American, Oceanian, Vietnamese, Esperanto Wanderly Sans can be used with graphic design programs such as Illustrator or Photoshop, word processing programs like Pages or Word, Design Space, Silhouette, Procreate, Canva Pro, Glowforge, GoodNotes, & more. This font is an installable for desktop & laptop machines, as well as iPads or iPhones. See below for links to help with installation.

Fishwrapper is a three-member font family (Regular, Bold, and Italic) designed to replicate the look of authentic vintage newspaper typography. The fonts are rough and are meant to be used at newspaper sizes. All three fonts have a complete alternate alphabet built in: using the contextual alternates feature will automatically substitute alternate versions of most glyphs, so that identical characters do not appear side by side, thus helping to create the look of metal type. Fishwrapper Regular has a complete set of small caps built in. Each font features assorted rule lines and other decorative material, many accessible through the discretionary ligature OpenType feature (three em dashes in a row, for example, will become a rule line), as well as fractions and a full international character set. Used in conjunction with some of E-phemera's vintage headline fonts, the Fishwrapper family is intended as a complete vintage newspaper and job-printing type solution.

Beatrix Antiqua is a humanist sans-serif typeface designed by Francesco Canovaro. Beatrix Antiqua is part of the Beatrix Family that takes its inspiration from the classic Roman monumental capital model: its capitals are directly derived from the stone carvings in Florence Santa Croce Cathedral - where the serifs are often removed while keeping the variable width strokes. So, even if it’s basically a sans-serif, Beatrix keeps a subtle swelling at the terminals suggesting a glyphic serif - in the same vein as Herman Zapf classic Optima typeface. In the lowercase design, Beatrix references early humanist typefaces, keeping small calligraphic details (as the prolongation of the e nose) that are especially visible in the italics. While Beatrix Antiqua, the companion typeface to Florentia , slightly exaggerates its antique stylistical features, Florentia tries to mix those influence with a more robust & digital age ready design, featuring bigger X-height and an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic.

Looking for a fun and versatile font to captivate your audience, clients, or guests? Trying to create the perfect contrast between your titles/headings and body copy? Maybe you’re a Beauty Influencer, Interior Designer, or run a Cooking YouTube channel - looking for a way to stand out from your competition. Maybe you feel like your birthday e-cards are missing that “something”. If you can say “yes” to any of these then hold on to your seats and get ready for a modern, fun, and delightful experience! Introducing Topsy-Turvy - A Modern Calligraphy Font. This gorgeous, fun, and elegant font can be used for a host of different content needs and projects. Use it for your headings, logos, business cards, printed quotes, invitations, packaging, resumes, and even your website or social media branding. Delight your audience, clients, or guests with this versatile, elegant font. What you’ll get: - Multilingual & Ligature Support - Full sets of Punctuation and Numerals Compatible with: - Adobe Suite - Microsoft Office - KeyNote - Pages

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporte S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: "My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!" Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

Serat is a medium contrast flared serif with mixed up styles of classic typefaces which is highly influenced by early stages of Latin based hand writing. The lowercase are modernized versions of Carolingian minuscules, vertical stems which touch the baseline have been modified to have horizontal cut for simpler look and keep the calligraphic style for terminals & stroke ends. Then the uppercase are flared serif which were influenced by Roman inscriptional capitals. The font name was taken from the Javanese word "serat" which means writing (noun). It comes with some unique features, such as: - Carolingian style alternate for some letters (a,e,f,g,t), also comes with separated stylistic set for long 's', and long left leg 'x' and alternative ampersand. - Discretionary ligatures for all caps titling. - Standard Ligatures. - Tabular and Proportional for both Lining and Old-style figure. - Fraction with Nominator and Denominator. - Superscript and Subscript for numbers, etc. Serat would be suitable for "classic" themed work; poster, book cover, branding, videography, etc.

Babetta is a display typeface that comes with some decorative typographical features. Alongside a set of arrows and flower icons, it also includes an alternative ›E‹, some special diacritic marks, a wavy ›S‹ and a series of ligatures. It features 5 weights, a special ›Neon‹ version and supports a wide range of Latin languages. This typographical tool box provides a large and playful variety of options for headlines and logotypes. Babetta supports Latin and Cyrillic languages. The initial inspiration for Babetta was an illuminated vintage shop sign—that of a famous bookstore in Berlin called Karl-Marx-Buchhandlung that dates back to the days of East Germany. During the course of the design process, this slightly shabby historical original was kissed by an Italian Art Deco beauty and has blossomed into a new typeface with its own special charm. The aim was not to preserve the original lettering, but to use it as a starting point for typographical exploration.

Semi-serif? Semi-sans? Emerging from the hazy border that divides Sans from Serif, Integra aims to integrate both styles in a cool, elegant, contemporary fashion. With its sleek anatomy, flared terminals and almost non-existent straight lines, Integra was inspired by the stressed, modulated, unserifed letterforms incised in the early 15th-century ledger tombs at Santa Croce church in Florence, and the neoclassical grotto inscriptions at Stourhead in England that dates from the mid 18th-century. Integra, however, gives a contemporary, even futuristic twist to these references by featuring original, audacious shapes on key letters like L, E and X; as well as with the modern, generous proportions of its lowercase; infusing it all with a flowing, luminous, Latin American feel. Integra comes in several weights and italic styles, for text composition and display usage. Its rounded counterforms and arch-like shapes lend texts a spacious, neat, architectural quality, perfect for sophisticated content.

Nemocon is a display font family designed by Carlos Fabian Camargo G. Nemocon It is ideal for making attractive messages. Nemocon has over 2200 glyphs distributed in 6 files OT designed from handmade lettering and usability testing. • Nemocon Script (1382 glyphs): based on the rotation of a flat tip brush. Its letters correspond to the uninterrupted calligraphic logic, as well as similar ingredients as the ones used in font Brush Script by Robert E. Smith, created for the American Type Founders in 1942. • Nemocon Tuscan (375 glyphs): Inspired by representative types of wood from the 19th century, specifically speedball brawny Tuscan capitals with serifs fishtail shaped. • Nemocon Catchwords (115 glyphs) + Nemocon Catchwords Shadow (115 glyphs): categorically inflated words with and without shadows, to accompany, highlight and prioritize. • Nemocon Dingbats (114 glyphs) + Nemocon Containers(150 glyphs): unconventional pictograms consisting warm and comforting thoughts designed to highlight words or phrases which needed multicolored illustrations or drawings in black and white.