Rough-hewn industrial geometric typefaces have been used and admired from early wood types through the digital age of Machine and beyond, but they have lacked an expansive enough family to become a true workhorse. The Tradesman family finds its origin of inspiration in the Craftsman tool company logo, and from there expands to type megafamily. Tradesman celebrates the angular octagonal forms of industrial lettering, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its reliably tough tone from the all capitals lettering that inspired it, and goes on to include a lowercase, small caps style, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Pro League 2020 font family is a sleek modern sans serif font family that provides italic and weight options that balance well with each other and provide various options for the user. If you are looking to present a clean, sleek professional look that is easy on the eyes - then this is a font family for you. Pro League 2020 font family contains 6 fonts - Pro League 2020 Condensed Regular, Pro League 2020 Condensed Regular Italic, Pro League 2020 Condensed Light, Pro League 2020 Condensed Light Italic, Pro League 2020 Condensed Extra Light and Pro League 2020 Condensed Extra Light Italic.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

Bague is a classical roman typeface, which was inspired in Old Dutch style, especially in the work of Jan Van Krimpen. Bague family comes with two different lengths of stem (ascenders-descenders), with three weights in each style: Text and Caption OpenType features: Discretional and standard ligatures; Swash, Contextual and stylistic alternates; Case sensitive forms, tabular figures, numerals, denominator, numerator, Small-Caps and Old Style figures.

Fusion Slab was developed based on Fusion Sans Pro, as an amalgamation of traditional early nineteenth-century letters. Fusion Slab is a family of 3 weights with very tall x-height which is suitable for long headlines. On the other hand, its ascenders and descenders are extremely short so text lines can be set with a very low leading value. It provides support for Latin and Greek.

The family has 5 weights, including a Display style, and is ideally suited for book and magazine design as well as small text. FF Dora provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Neubaufra is a geometric modernist type family. Originally released in 2012 as Baufra, Neubaufra is a considerate restoration of the original work. Inspired by the early 20th century designs, Neubaufra gives special kudos to the Bauhaus influence. Complete with 8 weights + Italics, new design retained its prime modernist characteristics with the improvement to the legibility for text and web use. Extended language support includes Latin and Cyrillic.

Laser is the work of British designer Martin Wait. The typeface family includes Laser, a slick and modern script typeface, and Laser chrome, its glossy, chromium alternative. The capitals are meant to be used only as initials in combination with the lowercase alphabet and are best used slightly overlapping each other in a display text. Laser is ideal wherever an energetic style is needed.

Mesclo is our personal take on the geometric typefaces genre. With mono-linear appearance, humanistic elements and subtle hints of Art Deco, Mesclo is a timeless typeface with dramatic oblique terminals and a welcoming, friendly roundness. The outstanding dynamic rhythm and legibility of the text contrasts with the inflexible geometry of the unusual complementary caps-only typefaces, specially developed to fulfil and enrich this type family.

Childish but heavyweight! A rounded bubbly heavy font that was designed for texts related to kids and children. With its melted and soft forms, it brings delight and makes your letters to be pleasant to be read. Apadana font support Persian, Arabic and also Basic Latin. A joyful choice for all the designers and creatives. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Jan Tomáš studied at the Universität der Künste, Berlin. He is a multi-talent – the author of many ideas, a font creator, designer, modeller, technician and web designer. In 2011, he founded Future Typo, the first web portal for advanced typography with original design typefaces and 3D typefaces. When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective for headlines in larger point sizes so that its details are emphasized.

Hambare is a sans serif font family that is bold, elegant, and futuristic. Its clean lines and balanced proportions make it an ideal choice for digital and print designs, ensuring readability and visual impact. Hamabare comes with six styles that you can mix and match. Add it to any design to provide the flexibility and visual impact you need to take your designs to the next level!

The Genau family is a geometric sans serif designed under the influence of the constructivist schools of Vkhutemas and Bauhaus. Despite the traditional shapes, the family has characteristic features in the modern outline. The sharp junction of round and straight strokes repeats the sharp tails in “a” “d” “n” “u” and other. The family has an even, smooth texture. The family has been developed to advert materials for architecture, design, education, modern art. The family has high readability in a small size, and doesn't lose aesthetic qualities when enlarged. The font family contains 8 styles The font is equipped with a Variable file with two axes (weight and slope) Supports languages ​​of central Europe and some languages ​​of eastern Europe Contains small uppercase letters Contains tabular figures There are several alternates in the font The font has more than 1700 kerning pairs

Bison is a sophisticated and strong family of sans serif fonts. Its sturdy uncompromising style is felt through controlled letterforms and modern touches. A balance of hard lines and smooth curves, each font in the family can stand on its own — dynamic and authoritative in its own right. FEATURES Bison includes ten all-caps fonts: Four weights / Italics / Outlines / Numbers & Punctuation / Extensive Language Support Bison Bold - bold and commanding Bison Demibold - the persuasive middleweight Bison Regular - a sturdy midground between light and bolds Bison Light - quiet but confident Bison Outline (Thick and Thin) - edgy and engaging USE Bison works great in any branding, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project.

The font HEXA is inspired by the Hexagon. The HEXA fonts are dynamically and uniquely designed typefaces based on the grid systems of the hexagon that extends infinitely. From this image, we have created the HEXA font. Hexa is Latin-based and a completely crafted font that consists of 3 typefaces. Each typeface contains 190 sets of characters. This font family is in all-caps fonts, and we provide different styles of uppercase and lowercase glyphs with the exception of letters c, ç, and comma/ single low-9 quotation mark. In lowercase glyphs, we emphasize the image, character, and identities of Hexa. The font family includes regular, black, and thin. We created the witty expression with Hexa’s regular identity; thin emphasizes the lines; black fills in the blanks. Hexa is a monospaced fonts. So kerning is not applied. We recommend using our fonts for big-sized uses. This typeface is a display font and looks more attractive in larger formats than on main texts. Features: -190 characters -Monospaced fonts -All-caps fonts (different styles provide uppercase and lowercase)

Beriot is a sans serif whose basics are condensed in Regular (Normal) weight, getting a lot of form inspiration from the topic also known as Steile Futura which is a letterform that Paul Renner himself explored in the mid-1950s, where shapes are constructed with little stress on modular squares but there are changes in certain parts so they become less modular. The Beriot family is available in 42 weights with matching slanted cuts, divided into 3 subfamilies: Condensed, Normal and Expanded. Each has been designed for a range of text sizes each, and already variable, allowing you to choose and make your own type of weight you like. OpenType Features are available in each of these font styles, including alternative characters, different numbers set and case-sensitive and there are additional symbols that make it the perfect choice for professional types of branding, digital design and editorial.

A straightforward sanserif in 20 fonts, 4 widths Ardoise met the needs of publications. By extension, it met the needs of a newpapers typeface featuring a low contrast, straightforward forms, as Franklin Gothic. The verticals metrics and proportions of Ardoise are calibrated to match perfectly others Typofonderie families. Four widths to answer all situations Ardoise, inspired by the needs of today’s fine newspapers offers simple and tense shapes designed to renew and revitalize. Ardoise could be considered as an homage to Antique Olive, but quite indirectly and as an organic result of the designer’s longstanding admiration of the work of Roger Excoffon. Ardoise shares a purity and dynamics with Excoffon’s designs giving it a unique elegance and excellent readability. Its sturdiness means it is virtually immune it to distortion. In addition, a few alternates glyphs (a, c, g) can be used to alter the overall tone of a text setting.

Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

The Adelle Sans font family by José Scaglione and Veronika Burian provides a more clean and spirited take on the traditional grotesque sans. As is typical with TypeTogether typefaces, the most demanding editorial design problems were taken into consideration during its creation. The combination of lively character and unobtrusive appearance inherent to grotesque sans serifs make it an utterly versatile tool for every imaginable situation. Whether for global branding, screens, signage and advertising, or UI, the keyword behind Adelle Sans’s use is flexibility. To save space and keep legibility high, Adelle Sans is available in eight weights with matching italics and includes a condensed width of seven weights with their matching italics. Each of these 30 styles hits the perfect tone as a headline punch or subdued background hum, and the condensed widths are adept at setting short texts while retaining the expected personality. Rooted in the belief that broad language support is crucial to modern global type design, the Latin-matching variants are yet another push in TypeTogether’s ongoing multilingual efforts. The Latin script may have been first, but Adelle Sans has thus far been expanded into an exhaustive nine script family with extensive language support. Careful research and close collaboration with type experts yielded typographic consistency, legibility, and cultural awareness among all scripts, as well as filling the need for quality editorial typefaces in Arabic, Armenian, Chinese, Cyrillic, Devanagari, Latin Extended, Greek, and Thai, with more planned for the future. In addition to the 30 Latin styles, all other scripts have between seven and fourteen styles, each of which has been engineered to optically match the proportions of its counterparts. And each script comes bundled with the Latin script to ensure an harmonious fit amongst any two or more Adelle Sans families in the same block of text. The full Adelle Sans family delivers consistent, flexible, and personable results in multilingual documents, in apps, and multicultural branding worldwide. Its wide character set includes typographic niceties, small caps, several sets of figures, icons, and support for over 245 Latin-based languages. Be sure to check out the companions for Adelle Sans: Adelle, for a versatile and authoritative slab serif with no shortage of personality; and Adelle Mono, a two-width family flexible enough for developers and graphic designers alike.

The Dusan Script font family is a wonderful set of handwriting script fonts that captures the graceful flow and idiosyncrasies of Dusan's penmanship. The Dusan Script font family has an airy, natural personality, with open counters and features that make it legible at small and large sizes. Dusan Script Family consists of two fonts, Regular and Bold, and offers a fresh handwriting style to grace invitations, cards, newsletters, advertisements and correspondence.

Buddy Slender is the narrower version of the companion sans for Contenu, the book font family designed for a book on book family design called Practical Font Design. It's a loose, free, easy to read sans, so when my wife suggested Buddy, it clicked. This is the 2-font Buddy Slender family of Regular & Bold. I made a new more limited feature set for these fonts due to their designed usage.

Isabel was made out of necessity to create a new font for children and teenagers, that could be enough friendly and versatile for text in words or even easy-to- read long texts. The purpose of Isabel is to combine all the nice and friendly features of the simple letters that the teachers teach to the pupils at primary school, as they starting to learn to read, together with the normal editorial fonts we read every day. In this way it generates a very joyful serif font, or even friendly font, with some conservative aspects. In other words, Isabel is a font that, despite of being a “classic features” typography, is proud to show its innocent and ingenuous elements, this gives to the font a new point of view. The family is composed of 3 parts: the regular version, the italic version and the unicase version. Each one of them has 5 weights, 551 characters and is composed of 208 languages.

www.Stat-Type.com Complementary Type Family Stat Text Pro Stat Display Pro is an information design sans serif type family legible in circumstances of low visibility. Its large character set with multiple weights is defined by optimal size ratio, distinctive letter shapes, wide aperture and balanced counters. Stat Display Pro remains legible in unfavorable circumstances of distance, size, movement and similar. It contains nearly 700 glyphs, including diacritics, ligatures, small caps, old–style figures, arrows and more. This enables it to achieve wide language support. It consists of four main (Light, Regular, Medium, Bold) and four secondary, negative weights (Light Negative, Regular Negative, Medium Negative, Bold Negative) which are accompanied by their corresponding obliques. Stat Display Pro type family has higher than average x height (72% of cap height) which is accompanied by matching ascender and descender size ratios. With its distinctive letter shape detail it minimizes the possibility of letter shape confusion, while optimizing legibility with wide aperture and balanced counters. Its main intended use is information design, where it, with its characteristics, meets the requirements of wayfinding, infographics, table setting and much, much more. The development of the type family was based on research in legibility to achieve highly legible letter shapes, while not diminishing their visual character. A detailed description of Stat Pro type family is available at Stat-Type.com where a DEMO font can be downloaded.

Another Grotesk is a contemporary typeface that was inspired by the early grotesques. Upon closer inspection you will notice the terminals of some of the characters are slightly turned inwards, this detail gives Another Grotesk its distinctive and friendly personality. Another Grotesk is functional and has been crafted with a great attention to detail. It is available in 9 weights and two optical sizes with matching italics which adds up to 36 styles. Another Grotesk Text family has been carefully redesigned some of the details were removed and simplified, x-height increased, and ink traps added, but preserved the overall look and feel of the display version, to ensure a greater legibility and clarity in running text. The extensive language support allows type setting in more than 200 languages across Latin, Cyrillic and Greek scripts. Another Grotesk also includes small caps and punctuation, tabular and old-style figures, as well as case sensitive feature and offers stylistic alternates for K, a, g, and y to fulfil any creative need of a designer.

Kaytek™ Headline completes the Kaytek typeface family with seven weights optimized for display purposes. Like the Kaytek Sans it is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design Every style of the typeface takes up exactly the same amount of space, thanks to the careful creation by Radek Lukasiewicz. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style Kaytek Headline comes in seven weights, from Thin to ExtraBlack. Kaytek Sans, Kaytek Slab, and Kaytek Rounded, are also available.

Originally inspired by manufacturer badges on old laboratory equipment, Centrifuge sports soft geometric shapes, wedge serifs, and sharply-angled terminals. Quirky but versatile, Centrifuge can appear anywhere from formal and elegant to funky and chunky depending on how it’s set. Centrifuge is suitable for short-form text and headlines but really sings in an all-caps setting with generous tracking.

Modesto Open is now a Chromatic Font Family. The old font Modesto Open has been improved, renamed Modesto Open Primary and joined by four new fonts that ornament and augment the Primary font in many different ways. All Caps. Modesto is a loose-knit group of Font Families based on a signpainting lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added.

The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but – due to its smooth taste – a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick ‘Syndicate International’ organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. VLNL Gindicate is a rounded modern sans serif family, suitable for a multitide of applications, corporate or otherwise. It has somewhat of a warm sci-fy feel, without being overtly techno-ish. In the family are 3 regular weights (Light - Regular - Bold), but also an Inline and Multiline weight for extra design possibilities. Company logos, brand identities, music flyers or posters, you name it. VLNL Gindicate will spice up any design. Bottom’s up!

It all started with making of a simple all-caps font. I drew the whole alphabet, numbers all else needed - but something wasn't quite right...the lettershapes were fine, but quite boring. Then I took a drastic decision: I started all over again ... meaning, I printed the whole thing, messed it up using a wet cloth and wrinkled the paper - then scanned it all again, and imported all the graphics yet again. A lot of work, yes - but personally I think it was worth it! But anyway, that's the story of how Primitivus was made ... well, almost, but not quite ... but that's another story! Use Primitivus for anything that needs that special kind of look were handdrawn letters meets grunge! Play around with the 4 different versions of each letter to make your text look even more random and natural!

Font designed from that used in France in 1492 to print the peace treaty between French and Enqlish Kings in Etaples, French town in Normandy. This font include "long s", naturally, as typically medieval, and only a few special characters as there were not very often used in the text, no more than abbreviations. Added, a lot of accented characters no longer existing on this time. A render sheet, joined with the font file, makes it easy to identify on a keyboard. This font is used as variously as web-site titles, posters and fliers design, editing ancient texts, greetings... This font supports as easily enlargement as small size, remaining a readable and beautiful regular gothic.

Phillip Kelly first drew the Croissant typeface in 1978 for Letraset. Back in the 1970s and 80s, Letraset's rubdown lettersheets were a popular means of designing with type. Today, many of these nostalgic classics are available in digital format. Linotype is pleased to re-present Croissant. This experimental typeface is built up out of round, brush-like strokes, creating heavy, and black letters. These forms are best used for display signage and headline text. If you are designing for a local bakery or donut shop, this typeface may be the perfect fit. The dark, heavy character that Croissant lends to the page is similar to Cooper Black , one of the most renowned American type designs ever produced. If you are looking for a typeface with Croissant's feel, but need to set smaller headlines or text, check out that family's offerings."

In the "Rounded Elegance" font family you will find modern, clean and elegant fonts. The family is thought and designed to provide smooth and modern logo creation as well as writing subtitles and brand slogans for end customers. The "Rounded Elegance" family is a unique sans serif type, with smooth, rounded contours. The package contains the new version (2.0) of the well-known Rounded Elegance font.

Mavel is a large font family where you can find simplicity and elegance together. With this font, you can create impressive presentations and increase their contrast by using sub-family members. You can create unique looking layouts and banners. The luxury logo will look great for your work. Apart from its wide family, this aesthetic font offers you alternative characters, ligatures and many more usage features.

Linotype Pide Nashi is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. German artist Verena Gerlach created a typeface which looks almost like Arabic at the first glance, only with the second do the familiar forms become clear. Rounded lower case letters, generous, sweeping capitals and diamond-shaped ornaments give the font its Arabic feel. The exotic Linotype Pide Nashi is best suited for short and middle length texts and headlines and especially for ornamental texts.

Mediator is a balanced contemporary sans serif typeface that performs well both in display sizes and body text. The family contains 30 fonts in 3 widths: 8 romans with matching italics, of slightly extended proportions, from Thin to Black; 7 narrow and 7 condensed, from Thin to ExtraBold. The character set in normal upright faces was expanded to include small caps and all faces include old style figures. The typeface was designed by Manvel Shmavonyan with the participation of Alexander Lubovenko and released by ParaType in 2016.

Calima is a humanist sans serif typeface available in six weights. The idea behind this family was simply to try to bring the spontaneity of an italic to an upright roman typeface. The result is a fresh and dynamic sans with clean shapes, well suited for short texts and display use. The fonts, available in Opentype format, include diacritics for most European languages and a variety of Opentype features: oldstyle and tabular figures, subscript and superscript, fractions, case-sensitive forms, localized forms and more.