Adriane Text was designed between 2006 and 2007 with additional production completed by Silas Dilworth for this 2008 release [v1.002]. Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominantly vertical axis, and a generous x-height, it can be classified as a transitional typeface. This package of advanced OpenType fonts consists of the style-linked quartet of Regular and Bold weights accompanied by corresponding Italics, each of which include small caps and full support for Extended Latin character sets - now including Central European diacritics. Old style and lining figures are provided in both proportional and tabular spacing, and an extensive set of ligatures, ornaments, dingbats, and alternate ampersands are available across the family. The Italics possess a fluidity that contrasts with the staid posture of the Roman styles. The degree of inclination for the uppercase and lowercase characters are slightly different, offering an enhanced visual rhythm in the text settings.

Airliner JNL is based on hand-lettering found on a promotional postcard for Kitty Davis' Airliner - a popular Miami Beach night spot of the 1940s. All of the usual things that make hand-lettering endearing can be found in the letter shapes of this font.

The Chairman is a flowing handwritten font, described by an elegant touch, perfect for your favorite projects. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, magazine, marketing materials and every other design which needs a handwritten touch. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! The Chairman Features : Uppercase and Lowercase Numerical and Punctuation Ligatures PUA Encoded Multilingual Language Easy To Use

Shaircut Forman handmade display font, fun character with a bit of ligatures. To give you an extra creative work. Shaircut Forman handmade display font support multilingual more than 100+ language. -Uppercase Many Thanks, Maulana Creative

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Armand Handwriting is a beautiful typeface that mimics true handwriting closely. Use Armand Handwriting to create stunningly beautiful designs easily.

The Swash version of Adriane Text features the best characteristics of this lineage, without losing the strong personality and elegant design featuring in your text styles, Adriane Swash brings a fancy look to this classic style. The family comes with a complete character set in Uppercase, Lowercase and Small Caps, and the Swash option can be activated through the OpenType features panel, including glyphs initial, intermediate and final, plus a wide range of stylistic ligatures, alternate glyphs, ornaments and languages.

Adriane Lux is the decorative, "inline" or "openface" titling companion to Marconi Lima's acclaimed Adriane Text family. This single weight offering is modeled after the Regular weight of the primary family.

 While Adriane Text is intended for thoroughly classical book design, Adriane Lux enters the fold as an equally traditional display face. Have it foil-stamped on your next faux-leather book cover design or embossed on your personal calling card for a touch of well-behaved, regal formalism.

ITC Simran was created by the London designer Satwinder Sehmi in 1998. The Indian influence is recognizable at first glance and lends the font an exotic feel - at least to the western eye. Sehmi borrowed forms and feelings from northern Indian writing systems for this typeface. Both the upper and lowercase letters make use of the same lowercase forms, but the upperacse letters have the addition of a horizontal bar running over them at the ascender height. This feature is directly reminiscent of writing systems in northern India, and is ITC Simran's most distinguishing characteristic. But there were other influences as well: Sehmi was also inspired by uncial forms when designing this typeface. ITC Simran exhibits the typical look of writing with a broad-tipped pen, with its strong strokes, as well as characteristic letter forms, for example, the a or h. ITC Simran is a fascinating and harmonious symbiosis of a variety of influences from different cultures. This font is best used for headlines and short texts in point sizes of 12 and larger.

Turman Grotesk is inspired by the hand-drawn painterly letterforms poster artist Adam Turman uses in his poster designs. Each character uppercase and lowercase has contextual alternates that can be used to give your type a more natural, handmade feel.

TinmanPro is a mildly stressed humanist sans serif type based on the University of California Oldstyle type designed by Frederick Goudy. The design captures the warmth and friendly character of Goudy�s original in a monotone sans. Broad Latin support along with small caps, fraction support and other typographic niceties are included in the ten font family. Weight range includes Regular, Medium, DemiBold, Bold and ExtraBold with matching italics for each.

HS Aleman is a modern OpenType Arabic Typeface. It is a modern Kufi / Naskh hybrid and keeps the balance between its construction and its flexibility in the transition between the thick and thin parts and it also contains a harmonious smooth curve at its parts in all characters, numbers and marks. This font contains some extended characters (swash), some variants of some characters (Stylistic Set), which gives the user some flexibility in using some characters. The font weights are refined with enhanced legibility and are ideally suited to advertising, extended texts in magazines, newspapers, book and publishing, and creative industries, meeting the purposes of various designs. This typeface supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu variants and it is available in '''five weights: light, regular, medium, bold and black.

Aira is a serif font with a modern style that is designed very neatly and boldly, especially for designers and clients who want to have a classic yet trendy design concept, with 35 alternative lowercase letters and 9 ligatures, as an option for those of you who want to add a unique touch to your design. This font is perfect for a sturdy and discreet company logo and is also perfect for magazine layout designs, articles, quotes, and even posters.

KT Nirma Sans Nirma is a typeface with 9 Weight Sans Serif from thin to Black, inspired by Founders Grotesk, This project start from April 2022 and start from the stretch until shaped the solid character to represent the Dynamic Sans Serif. Nirma has total 462 glyph and 218 Support language. Nirma support Latin Basic, Latin-1 Supplement, Latin Extended A-B, Spacing Modifier Letters, and Combining Diacritical Marks. The Solid Character has multi function Display Sans & Body text based on Display Grotesk. Especially in te Thin to Regular is more legible for body text and the black one good for Display Sans, with dinamyc shape and more wide.

As a graphic designer, sometimes it’s impossible not to be inspired by the Swiss Style, specifically the work of Armin Hofmann, who is one of its best exponents. Grids and grotesk and neo-grotesk typefaces are a fundamental part of the tools that make this aesthetic possible. A visual language that has caused full admiration since we were students. Therefore, we decided to design Armin as an homage to Hofmann’s work. Technically, we added stylistic sets applied to the letters –G, R, a, g, h, l, m, n, r, t, u, y– to make Armin more eclectic and suitable for the creation of any visual language. Armin Soft is the softest version of Armin Grotesk with its Variable file.

As a graphic designer, sometimes it’s impossible not to be inspired by the Swiss Style, specifically the work of Armin Hofmann, who is one of its best exponents. Grids and grotesk and neo-grotesk typefaces are a fundamental part of the tools that make this aesthetic possible. A visual language that has caused full admiration since we were students. Therefore, we decided to design Armin as an homage to Hofmann’s work. Technically, we added stylistic sets applied to the letters –G, R, a, g, h, l, m, n, r, t, u, y– to make Armin more eclectic and suitable for the creation of any visual language.

A refreshing stars-and-stripes treatment, suggested by lettering artist Francisco Gonzales, combined with the letterforms of an old ATF typeface named "Rodeo", produced this delightfully novel font, suitable for patriotic occasions. Named for a small Texas town, which pronounces its name "Eerie-Ann." Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This font will sparks childish energy which is cheerful and playful, but it still usable to any kind of design because its familiarity. Arcane Land is a neat casual handwritten. Despite its neatness, this font is still looked handmade because the stroke and the asymmetrical shape. Suitable for posters, logos, branding, and all designs that need natural text writing. Go get your ticket to the Arcane Land!

Airates, this is my first font, as the name suggests and because this is my first font that I introduced to the world. Inspired by a film where someone who loses all and returns to struggle to find meaning in life that actually clings to the edge of the world and that's where the beginning of a story seems to be reborn. Airates Script Fonts is a typeface thick and easy to read so comfortable to wear .You can use it as a logo, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, business card, and wedding invitation and more. The flowing characters are ideal to make an attractive messages to your taste. mix and match with a bunch of alternative characters to fit your project.It will be more interesting if you add swash / alternative swash. The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Ligature and Ligature Alternates. Mail support : maculinc@gmail.com Thank you! Maculinc

Introducing our new product the name Ariane Coachella Elegant Serif Font Family comes with 9 different weights. Modern Serif font that feels beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities.

BR Firma is a geometric sans serif consisting of 8 weights ranging from Thin to Black with matching italics. It supports an ‘Extended Latin’ character set that covers over 200 latin based languages. BR Firma provides advanced typographic support with features such as case sensitive forms, fractions and slashed zeros. It comes with multiple figure sets and is ideal for print, advertising, publishing, branding, software and gaming as well as being optimised for web and screen design.

Ornamental initials superimposed on elaborate drawings of men and women in scenes from 20th Century German country life, with flowers, cottages, churches, and towns in the background. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters.

Sophisticated modern, our fluid Modern Sans Serif font family enhances your designs. Elevate with captivating headlines and branding. Experience elegance.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

A 1947 timetable for—who’d a-thunk it?—Arizona Airways provided the pattern for this unusual, yet endearing, face. Its Art-Deco-meets-Apache vibe ensures that your headlines will be warmly received. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

Maria Aishane is a bold new type of modern modern calligraphy script that has an alternative. make your designs beautiful and look great. Maria Aishane includes all the basic characters and additional and alternative Latin characters, nice fonts for your invitation. Maria Aishane is just a simple typeface, all uppercase, lowercase letters, and only includes all the basic characters, numbers and punctuation. It is perfect for logo, greetings, branding, quotes, prints, invitations and crafting. All lowercase letters include alternates, beginning & end swashes, that makes the font look fabulous! These are all coded with PUA Unicode. Mac users can use Font Book and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Thanks and have a wonderful day

This family was inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel (Germany) to print the splendid New Kreüterbuch...(New herbal...), with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany. It is a Schwabacher pattern, with three different sets of fonts, small (± 4mm for the upper case) in the main text, larger for titles (± 8mm for the upper case) and large Initials or lettrines (five lines of main text). This font contains standard ligatures and German historical ligatures (German double s, long s, tz, ch,...) and diacritics (special umlaut "e superscript" and "∞" unstead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font. It can be used in complement with 1538 Schwabacher or/and 1534 Fraktur.

This font was inspired by lettering found on old tradecards from the 19th century.

Blackletter typeface.

This type of Richard Gans, has always seemed very striking, despite having the complexity of the sources extrusion, has its own personality, and readability unusual for this type of letters. Use it for composing posters, programs or logos was very common at the time. My father, Antonio Lage Parapar, typographer by profession, who composed the texts, which not only had it for profession, but he liked to do, always he spoke of sources and decorative elements of the type foundry Richard Gans, as well as other foundries, especially those that required the mender of them, exercised creator, many of these types they have already been recovered by professionals and companies with excellent results. I've been surrounded by these movable type, and the occasional catalog unfortunately lost. One of those guys that has always struck me visually speaking was the type IMAN Richard Gans, the typographer and more of German origin arrived in Spain, back in 1874, also a pioneer. This work to revive the type mentioned, as well as create non existing glyphs between documents and parts I've been finding, is and has been a personal pleasure all I want serve as a tribute to my father (of aopodo curiously "Richard"), the only sadness it has not been completed. Richard Gans, arrived in Spain in 1874 as a representative of several European factories. then liaised with journalistic and publishing companies, which led him knowledge required of the first sector art. In 1878 he created a center importer gadgets graphic arts and three years later he created his own type foundry. The first rotary newspaper ABC, very famous and the most advanced of the time, the brand manufactured Richard Gans.

German type designer Yanone created this sans FontFont in 2010. The family has 14 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, logo, branding and creative industries as well as poster and billboards. FF Amman Sans 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. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Serif.

Artane, Tony Fahy's first typeface for Bitstream Inc., has a specific philosophy at the core of it's creation. He decided he would try to create a Roman sans that would have the elegance of a serifed italic, such as Stempel Garamond, Bembo, or Baskerville.

German type designer Yanone created this serif FontFont in 2010. The family has 8 weights, ranging from Regular to Extra Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Amman Serif 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. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Sans.

Aima Font Duo A sweet signature font, casual and dynamic with a dancing baseline. Also available Aima Display to help you mix and match it to fit your creative work in harmony. all to add an authentic touch to your designs. perfect for Branding, Logos, Greeting Cards, Wedding Stationery, Quotes etc. Files included: Numerals & Punctuation Stylistic Alternates & Ligatures PUA Encoded Characters Thanks so much for looking, I really hope you enjoy it and please don't hesitate to drop me a message if you have any issues or queries :) Happy using