Extraordinary impact and visual conspicuousness. Dr Slab is a super 3D serif family for posters, logos and all display. The basic idea is not a brand new. Stacking type system have been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each colors. Dr Slab uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Dr Slab "Base" style is the core of this font family. You can add effects by using the other styles(Rim, Shadow, Ext). Instruction 1. Type your text as you like. 2. Set font-name "Dr Slab" and font-style "Base" 3. Set color for "Base". 4. Duplicate the layer which includes "Base" text. 5. Set font-style and color for new layers. 6. Stacked layers in different font-style and color make the text in 3D. For further detail, https://www.dropbox.com/s/9p9083zv2855bcq/DrSlab.pdf Dr Slab "Base" style can be used solely. Rounded slabs add soft, cute and casual impressions to your design. Spec: OpenType Format (.otf) with over 500 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

Mikha, designed by Carine de Wandeleer, is a delightfully handwritten family font which keeps the casual drawing of a marker with clean strokes. Its slight bounce and intentional irregularity, gives your words a wonderful flow. This new font family with 736 glyphs, includes Regular, Condensed and Sans. It has OpenType features such as Stylistics alternates, Swashes, Ligatures, up to five Stylistic sets by letter, initial and terminal forms in upper and lower, ornaments that allow you to mix and match pairs of letters and a Central European language support to fit your design. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. This will help your creativity and make it easier to make expressive and elegant your typographic work. Also with Mikha Sans it is possible to write all in capitals. Mikha looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, business-cards and is perfect for using in ink or watercolor based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds! Enjoy it!

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.

Henrician can claim two sources of inspiration. One of these was a set of beautiful capital letterforms seen on the cover of a 19th century album of engravings. The engravings contained therein depicted lovely examples of half-timbered Tudor architecture and there was a clear 'Tudor' intent behind the letterforms. The second source of inspiration is more conceptual-the title lettering of period films from the 30's to the 60's…think if the opening text when Errol Flynn plays Robin Hood, or think of Richard the Lionheart, or even that great comedy Classic 'Carry on Henry', and it's discussion of Sir Thomas de Cobbler….but we digress! Henrician is a set of eight display and text (but perhaps not Body Text) faces in a 'Tudor Revival' spirit. Like any good revival design they are somehow at home with a wide range period themed design work, covering the medieval until, perhaps, the 18th century, just so long as we're more concerned with fun and appearance than strict historical accuracy. The family will be at home in the realms of advertising, posters, cover design and web design. Try Henrician out today!

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

This set of initial decorated letters was inspired by a font in use in the beginning of 1500s in Paris. Exactly, we have used the set that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François, (from “Triumph” of Petrarque) in the year 1514. Some letters, lacked, have been reconstructed to propose a complete alphabet. It appears that the printer used some letters to replace others, as V, turned over to make a A, or D to make a Q. The original font’s letters were drawn in white on a black background only, but it was tempting to propose a negative version in black on white. It is used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font. This font supports strong enlargements remaining very smart and fine. It’s original medieval hight is about one inch equivalent to about four lines of characters. This font may be used with all blackletter fonts, but works particularly well with 1543 Humane Jenson, 1557 Italic and 1742 Civilite, without any anachronism.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

Oscar Niemeyer is one of the greatest architects of our time—his unique way of mixing straight lines and abstract curves gives rise to an unmistakable and characteristic style. This typeface is my own tribute to Brazilian architect Oscar Niemeyer. The design process started when my wife and I visited Brazil while she was running a series of workshops on calligraphy. In my spare time, I would walk through the streets of beautiful cities like Rio de Janeiro or São Paulo, enjoying the local architecture and urban life. I had also the opportunity to attend to some of the workshops during which I was able to observe the organic of calligraphy and people. Then, I started to draw some shapes that reflected everything about this beautiful place: Niemeyer’s architecture and work and, in his own words ‘the curves on the body of the beloved woman’. This versatile typeface comes in 8 weights with matching italics, alternative characters, oldstyle figures and much more! Niemeyer is well-suited for logotypes, advertising, publishing, branding and corporate use. Special thanks to everyone in the Latinotype Team (especially to César Araya) for their support, help with corrections and digital editing.

Daiquiri is a revival of a handlettered font in two weights, from an ad for Puerto Rico Rum dating back to the forties or fifties. I found the ad on a French antique market on my last visit for Mardi Gras in Nice. The ad read "Breeze through the heat, be a Daiquiri fan". That's why they had this "fan" in the illustration! Did they want you to rotate like a fan when you had enough Daiquiris? Or did they just do it for that little "Jeu des mots"? Anyway I found the handlettering very pretty, so I took those few letters and made a whole font out of them. I think Daiquiri has that touch that brings those happy and uncomplicated times back when advertising was still fun. I started something like 20 years later in advertising and things had gotten more stringent. We already had to satisfy those marketing guys with their scholarly attitude. They have taken all the fun out of the job, for the creators as well as for the consumers. I would like to see more uncomplicated ads like this again, yours Gert Wiescher

Kornelis de Vries, a headmaster from the Dutch province of Friesland, cultivated new potato breeds that he named after pupils in his school. In the early 1900s he came up with the tasty Bintje (a Frisian girl’s name) and it became a big success – in Belgium and France it has remained the most popular potato for french fries to this day, more than a century since its introduction. Donald Roos took 10 kilos of fresh Bintje potatoes and cut the Bint typeface by hand with a short, sharp knife. He then inked each character once and printed it twice; the second, lighter printing is accommodated in the lower case alphabet. The Bint family offers a script to make the letters bounce up and down the baseline; with OpenType functionality the font randomly chooses each character from the upper- or lowercase alphabet. ‘Tabular lining figures’ will activate a series of negative numerals in boxes; ‘Discretionary ligatures’ activates specially designed letter combinations like ‘www’ as well as arrows and stars. Bint has a distinct, slightly rough handmade appearance, making it useful for a wide range of designs.

Pliego is a textface designed to offer a comfortable continuous reading, with humanist proportions, an even texture, and informal calligraphic details noticeable only at big sizes, that gives it a contemporary feeling. Pliego has been named after Pliegos de Cordel, the Spanish word for the popular books that were common during the XVI, XVII and XVIII centuries. These were rough, cheap books that basically consisted in a folded sheet attached to a string, hence the name. Their content was varied, from popular tales to ballads and songs, but also crimes and mysteries. They were cheaply made, roughly printed and bound. The name Pliego evokes the idea of a rough look, angular edges, informal taste, but classical look. To cover today’s needs, Pliego includes five weights with matching italics. Designed and engineered for continuous reading, the Book, Regular and Medium weights will perform at their best under 14 points. However, don’t be scared to use for headlines and titles: because of its quirky details and calligraphic flavour, Pliego’s personality is accentuated when enlarged. With an extensive Latin character set, Pliego covers a wide amount of Latin-based languages, including Latin Plus encoding and Vietnamese support.

A clean, smooth rendition of the magnificent B42-type used by Johann Gutenberg in his famous 42-line Bible. In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in Gutenberg’s Bible and later incunabula. Also available as The Oldtype “Gutenberg C” Font in a slightly roughened style simulating irregularities and ink spreads associated with old metal types, papers and parchments. The main historical sources used during the font design process were high-resolution scans from several printings of Gutenberg’s Bible. Other sources were as follows: Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 7); De Hamel, C. (2001), The Book - A History of The Bible, London: Phaidon Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 7). Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Gutenberg B” Font Page.

The birth of the monospaced types dates back to the past. There was a need for the creation of typesets for typewriters. The difficulty was to align the different glyphs in the same width. This led to particular problems with letters like “M” and “l”; the former seemed to be squeezed into the same width of all letters and the second one appeared way too streched. Despite – or perhaps because of – the impression of the typewriter is still popular with Graphic Designers. Nowadays there are even monospaced versions of primarily proportional types; for example the the Sans Mono designed by Lucas de Groot or the DIN Mono. Then again, why not the other way round?! In the first half of the Nineties, Erik Spiekermann developed a proportional type named ITC Officina based on the Letter Gothic. According to a survey on the 100 best fonts of all time conducted by FontShop, ITC Officina is in an eighth place, far ahead of its forerunner. This was the reason for me to create a wider design with a Serif and a Sans Serif based on the queen of all monospaced types – the Courier.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

A font family with excellent visibility and aesthetic originality was developed after years of troubleshooting. It will be the best choice for designers as it contains a variable font with two axes. A variety of styles, including stem widths from 10pt to 220pt, will be an exciting attempt for unique typography. And, 44 beautiful and amazing ligatures will make your imagination deeper and richer. On the Typographic Foundation, it makes sense to break most of the ligatures used here into discretionary ligatures. However, in view of the trend of modern typography, in which the essential boundary between function and decoration is increasingly blurred, it may be meaningful to use them together. All ligatures of this font family are included in Standard Ligatures. Your choices become easier and clearer. Its name is Quickflio. OpenType Features 44 Ligatures : Am, An, Br, Cr, Gr, Le, Lo, Op, ad, am, an, at, ba, ck, ct, da, de, do, er, es, ff, fo, fi, fl, gh, ha, hn, hs, in, le, ll, lo, ma, ns, oe, om, on, re, sh, st, um, un, ve, wa Ordinals Oldstyle Figures Tabular Figures Fractions Scientific Inferiors Superscrpt

Introducing Mandira, the ultimate serif font for those seeking a unique and sophisticated touch to their design projects. With its rounded curves shaped. Inspired by the modern retro, Mandira is the perfect choice for those seeking a minimalist yet stylish look. The font boasts a wide range of special characters, giving you the freedom to mix and match to create a truly personalized touch. Whether you’re a designer, blogger, or creative, this font is perfect for logos, headings, and branding, and its bold and fancy appearance to ease you make a masterpiece. With over 400+ glyphs to choose from, you can be sure that your work will stand out. Mandira is not only fashionable and casual, but it’s also versatile enough to be used in a wide range of design projects. So why wait? Try Mandira today and elevate your designs to the next level! What you’ll get : Uppercase Lowercase Numbers & punctuation Stylistic alternates Stylistic set 01-05 Ligatures Multilingual support Hope you enjoy the font!

Chandelier Signature a new fresh & modern script with a handmade calligraphic style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Chandelier Signature come with 530 glyphs+. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts. so that all the alternate characters can easily be accessed in full by a craftsman or designer. Chandelier Signature Features : - Uppercase & Lowercase - International Languange & Symbols Support, Punctuation & Numbers, PUA Unicode Range Standard Ligatures, Discretionary Ligatures, Stylistic Alternates, Stylistic Set 01-05 Character. If you have any question, don't hesitate to contact me by email pointlab23@gmail.com Thanks!

Caravela is a decorative formal typeface. It was designed, drawn and realized by Mans Greback in 2020. Inspired by 17th century typographic works, this work lifts some of the absolute best elements from the golden age of calligraphic lettering, bringing it to life in a new, modern setting. The fusion results in a typeface that works perfectly for a present day headline, logotype or invitation, while keeping the traditions and formality inherited from history. It contains several alternate alphabets, a great set of ligatures and hundreds of contextual functions, which combined make the writing appear as a true handpainted piece of art. Swashes can be accessed by writing swash1, swash2, swash3 etc. Also included is the Caravela Swash style, a font that contains more than 50 decorative elements to be used with the lettering for an even greater visual effect. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Introducing Melvins - Font Set. The font combination which inspired by the vintage design. Includes 4 fonts with different styles that have unique looks, and are perfect pairs when combined. This font set is carefully designed with high attention to give a feel of vintage, old-school, and classic. Melvins consist of Condensed, Light, Expanded, & Script styles that are versatile to be used for many design purposes. Melvins Font Set including with 50+ vintage illustrations that will ease you to make a design in a sec and is also equipped with swash and alternate characters that you can mix and match to get a more vintage look. The perfect choice to be used to create logo, label, badges, logotypes, decals, shirts, posters, flyers, and etc.' Fonts featured : All capitals character set Lowercase (script) Numbers Symbols & punctuation Stylistic Alternates Swashes (script) Multilingual support PUA Encoded (no need for special software to access special characters) Thank you for your support! I hope you enjoy using Melvins Font Set.

Black Seashore is a script typeface with noble and vintage looks. Created in response to current graphic design trends. Inspired by classic labels, vintage packaging, and old sign paintings. This Black Seashore will add a touch of worldly knowledge to your artwork, Classic nuance is perfect for those of you who need fonts for especially the types of logos, clothing, signage, branding, packaging, advertising, and more. I have designed a number of examples, so you can see how it can be used. Black Seashore also has many alternatives for ascender, descenders, swash, and ligature. It also has several options for tail and underline. To provide a number of good possibilities to play and make some unique designs. Black Seashore is equipped with: • Uppercase, lowercase letters, numbers, punctuation & symbols • Multilingual support • Alternative style • Stylistic Set 01 - Stylistic Set 014 • Swash • Ligature If there are problems, questions, or anything about my font, please send an email to greatstudi92@gmail.com

PDF Epillox is a modern, contemporary, geometric typeface, with a strong personality and more unique with maximum emotional. It is inspired by modern contemporary display sans typefaces. We spent a lot of time, especially in the italic, to draw with high-quality compensation for all circles and strokes to become fresher and cleaner from the geometric point of view. As an OpenType family it includes 51 alternate characters and ligatures, plus extra characters. The most interesting is about Stylistic set (ss02) have a more powerful characters the combination of original and wide characters. Epillox also supports other OpenType such as: Ligatures, Discretionary Ligatures, ordinal numbers, case sensitive, fraction, supscript, superscript, ss01, ss02, ss03, ss04, ss05, ss08 Epillox contains 695 characters supports over — 200 Latin-based languages. Other Essential sets are composed of alternative glyphs. its great in headline, titles and short paragraphs (Poster, Signage, Logo, Branding, cover and etc) A Variable Font is also included in the family.

Full Neue is the younger brother of original Full Sans, Full Slab and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, way-finding and signage as well as web and screen design. Full Neue 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 “Full Neue LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Neue LC comes 5 weights and italics also Full Neue SC comes 5 weights and italics total 20 types. The family contains a set of 485 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. Full Neue is the perfect font for web use. You can enjoy using it.

Typeface Laborat™, designed by Kristína Jandová, is a Grotesk typeface that combines the geometry of a circle and a square. The visual message of geometry is applied to stylistic sets and modified by special characters, including abstract forms or symbols, that turn the typeface into a visual “graphic” language. The basic character of the typeface lies in the default set based on the circle-like shapes of letters. The stylistic sets 01 to 03 are characterized by different geometrical modifications of the growing character and the idea “from circle to square” applied on the letters a, f, g, l, r, t, u, y. By using these different alterations of consistent letterforms, it offers a playful space for everyone. The first inspiration of the typeface origins in Paul Renner’s Futura sketches, that were a celebration of geometrical playfulness of modernism meeting constructivism. It is modified into a new contemporary “wave” of typography as a graphical method. Laborat comes in six weights, from Hairline to Heavy.

The family has 24 weights, ranging from Thin to Black in Normal, Condensed and Wide styles. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster, and billboards, small text, wayfinding, and signage as well as web and screen design. Zawya Pro provides advanced support with features such as case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of letters for Arabic and English with Arabic and Latin digits. As well as Latin-based languages, the typeface family also partly supports the Arabic, Urdu and Persian and more than 30 writing systems such as ( Afrikaans - Albanian - Catalan - Croatian - Czech - Danish - Dutch - English - Estonian - Finnish - French - German - Hungarian - Icelandic - Italian - Latvian Lithuanian - Maltese - Norwegian - Polish - Portuguese - Romanian - Slovak - Slovenian - Spanish - Swedish - Turkish Zulu - العربية Arabic - Urdu الفارسية - الأوردو Persian). In includes OpenType features for Arabic and English: Stylistic set 01 and 02 Numerator & denominator Fractions Ordinals Superscript standard ligatures discretionary ligatures Case Sensitive

Lindage Script is a handwritten typeface with classic roots, a beautiful formal script with an elegant touch. It works perfectly in the world of weddings, logos, greeting cards, branding, print ads, quotes, signage, magazines etc. Lindage Scrip features 346+ glyphs and 116 alternate characters, including initial and terminal letters, alternates, swashes, ligatures 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: http://youtu.be/iptSFA7feQ0nn http://cuttingforbusiness.com/2016/01/28/how-to-use-opentype-fonts-in-silhouette-studio-or-cricut- design-space/ https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your purchase! And please let me know if you have any questions via email: joelpopon@gmail.com

"Qualta" was initially designed in 2017 as a submission for a type design assignment while at typography school, originally launched under Alt-A Foundry, "PGF Qualta" was developed specially for Publishing Agency under the supervision of Peggo Fonts Foundry, now with a complete Small Caps set, classic and old style numeric figures, lining and tabular forms, scientific and fractional notation set, arrows set, light parenthesis set. Set on producing a geometric sans, it started with the circular form drawn from a 50s television screen. The bloated shape gave an illusion of protrusion and so much open space to the rounded letters. A broken stem was then added to the lowercase to provide a notch that allowed the typeface legibility in smaller sizes. The typeface was then developed into eight cuts with their corresponding italics. The lower case g includes a variation with a transitional link derived from the upper case Q’s tangent tail. Qualta’s original concept was designed by Isabel Gatuslao and was developed by Pedro Gonzalez.

Finally the time has come to publish our new ‘BlackHand’ font. It is a bold and upright handwritten font featuring 150 ligatures, which make for a credible handwritten look and feel. The ligatures will appear quasi random without the user having to search for the right alternate character in a list of glyphs. As you will notice, the font does well in both headers (it even has an ‘instant logo’ quality) and in plain text. The font finds it’s origin in handwritten notes which were done without paying attention to aesthetics. The regular characters and the ligatures were handpicked to form an organic and natural, very readable result. The original writing was done with an Edding 1340 brushpen, giving the font frivolous thick/ thin strokes. We hope you enjoy using the font as much as we did creating it. As an introduction offer, you can get it now at 50% off in the first month after publishing.

Burberry is a Script calligraphy font, Burberry is handcrafted with copper plate stylus and features opentype with pua encode, Burberry is a Script Calligraphy includes alternatives, style sets, ligatures, and swashes, Each lowercase glyph has a stylised styling, Swiss is perfect for branding , wedding invitations and cards or quotes. In order to use beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Swash is called alternate style. For example, the letter "a" with ss.01 and a closing swash is an alternate style for "a". To access you need it, you need to open the Glyphs panel. Photoshop has a glyph panel where you can find alternatives and ligatures. Select the Beloved Gray font and open the Glyphs Window and double click on the glyph you want to use. To open from Illustrator, please follow: Window --Types --Glyphs. Thank you and have a nice day

CA Recape is a weird and beautiful vintage script family with two styles. It’s an excellent choice for creating logotypes, headlines, signs, poster and any design that requires a custom-made feeling. The basic inspiration for CA Recape comes from American 50s lettering. But instead of reviving one special style, it is a kind of “Best of”-Remix. It takes the weirdest and most beautiful letterforms of a weird and beautiful time and merges them into one font. The outcome is a charming bastard. Guess what it looks like: Weird and beautiful. CA Recape is packed with a lot of OpenType features like underlining swashes, Stylistic, Discretionary, Titling and Contextual Alternates and Ligatures for use in OpenType savvy programs. It also comes with some nice Ornaments. Derived from the original typeface, Cape Arcona Type Foundry also offers a Raw style that has the distressed look of a poorly printed raw font. See the specimen PDF in the Gallery for all OpenType features and instructions.

A sanserif with human touch in 6 fonts Angie Sans is a low contrast incised sans serif sharing some similarities with Optima by Hermann Zapf and Pascal by José Mendoza, both created at the end of the 50’s. The later, feature an italic not published by the initial foundry who launched Pascal. Angie Sans follow same path with its italic based on Chancery forms from the Renaissance, narrower than the roman shapes. With its capitals based on Roman proportions, lowercases featuring open counters, strong horizontals, Angie Sans is a legible typeface. The manual gesture is present in Angie Sans, which offer the plastic qualities such as warmth, craftmanship and humanity. Angie Sans is an Incised Garalde who works well for display as text settings. Available in 6 series, with matching italics, Angie Sans will work well in design projects where delicate and human touch is required. Angie Sans Morisawa Awards 1990

Worthington Arcade is a classically-proportioned capitals-only type incorporating a selection of ligatures and alternates. It loosely resembles the hand-painted architectural lettering of the 30s to the 50s, exemplified by the likes of Percy Smith’s interior signage for the BBC or George Mansell’s lettering for the University of London and the signs found on London’s bridges. However, rather than a slavish copy of any historical model, it is more an examination and evocation of certain idiosyncratic quirks of civic lettering of the period, and an attempt to create a peculiarly English titling typeface. The round letters, for example the O, Q and C, are wider than the perfect circle usually found in such designs, while the straight-sided characters, usually drawn on a square, are narrower. This lends the whole a subtle elegance that is also emphasized by the raised crossbars on the H, E and F and extended lower leg of the E. Includes old-style numerals.

Full Slab is the younger brother of original Full Sans, FullNeue and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Full Slab 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 “Full Slab LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Slab LC comes 5 weights and italics also Full Slab SC comes 5 weights and italics total 20 types. The family contains a set of 485 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. Full Slab is the perfect font for web use. You can enjoy using it.

P22 Flora Mambo is based on the distinctive style of 20th century illustrator Jim Flora. Most widely known for his Jazz album covers of the 1940s & 50s, Flora's style shows his fantastic imagination and bold graphic style. The P22 Flora Mambo Set contains 3 fonts- Flora Mambo, a 2-part font that can be used to achieve 2-color text in the style of Flora's iconic 1955 album design, Mambo for Cats and Flornaments, a set of 72 ornaments that features a variety of Flora's illustrative styles from his Jazz album covers to children's books to his fine art prints. Please note that P22 Flora Mambo B is not intended to be used on its own but rather is included with P22 Flora Mambo to create 2-color text. For best results, use with page layout applications. The fonts contained in the P22 Flora Mambo Set are licensed through the Estate of James Flora and JimFlora.com .

"Old is Gold".. Perhaps that's the best words to represent this typeface called Fragtude - a pair of vintage display typeface consist of bold script and serif. One of our finest typeface, crafted carefully to make sure its quality. Inspired by 40s 50s lettering and signage, the nostalgic feels will bring you back to the good ol' days. This typeface is perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual swash and ligatures alternates PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/ Email us to letterhend@gmail.com if you need something! Happy Designing!

Novel Display is the humanist sans serif typeface family for headlines and display sizes and the latest addition to the largely extended, award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. All typeface families of the Novel Collection have a carefully attuned character design and a well balanced weight contrast. The fine gradation of 10 weights in combination with 4 widths enable designers to create fine display typography and combine the design with other members of the Novel Collection to reach highest quality in typography. Novel Display [788 glyphs] comes in 50 styles and contains an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur