You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it's plain to see that the top half of the letters is very Bodoni in appearance. Apple Pie is a revival of and old font from the William Hagar Type Foundry, which I've been able to date back to 1850. The William Hagar type specimen book from the 1850s only shows this font as a caps only typeface plus numbers, later in 1869 MacKellar Smiths and Jordan offered this font with a lowercase. Over a two year period I was able to collect enough letters to begin production of this old decorative font, the type specimen books only showed a small line of text for this font so I would search through old documents on eBay and also shows relating to Ephemera. I could have easily developed a new font based on a very small sample of letters but I wanted to wait and find as many letters as possible, I was unable to find the Q, X, Z and ten lowercase letters so those missing letters are of my own design. New to this font is the addition of an all Caps Greek character set, accented letters for Eastern Central and Western European countries is also within this font. Fill fonts are available for the Apple Pie font, you will need an application that works in layers such as Adobe Photoshop, Adobe Illustrator or Corel Graphics in order to use the Fill fonts. Some Fill fonts may be used as stand alone fonts but the versions for Apple Pie look best when layered behind the parent or main Apple Pie fonts. Be sure to check out the left and right hands located on the Less Than and Greater Than keys.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

This family was inspired from the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467 printed in 1546 in Paris by Jacques Kerver. He was using a Garamond set (look at our 1592 GLC Garamond), including two styles: Normal and Italic (Normal carved by Claude Garamond, Italic we don't know; it was an Italic pattern very often in use in Paris at that time). We have modified the slant angle of the Capitals used with Italics because the Normal capitals were used in both styles in the original. The present font includes all of the specific latin abbreviations and ligatures used in this edition (with a few differences between the two styles). Added are the accented characters and a few others not in use in this early period of printing. Decorated letters such as 1512 Initials, 1550 Arabesques, 1565 Venetian, or 1584 Rinceau can be used with this family without anachronism.

Komet is a sturdy typeface with a calm and upright feel. Although it derives inspiration from classical English sans-serifs, it’s not too closely related to that model. Komet, instead, feels rather more lively and contemporary. Its compact spacing, low stroke contrast and heavy dots and accents give it an almost monolinear quality. The diagonals are slightly curved and the counters of the round letters such as b, o and q are generously wide. The muted, understated middle weights are built for extended body copy, while Komet’s thin and dark weights look brisk and assertive and make for subtly expressive headlines. Komet is an ideal choice for editorial design, branding and corporate design. The Komet Pro family comes in eight weights with matching italics, from Thin to Black. Each font contains around 850 glyphs, including a rich repertoire of OpenType features. Small caps, ligatures, ten different figure sets with matching currency symbols, stylistic alternates and arrows make Komet Pro a comprehensive toolkit for ambitious typography.

Mansheen is a simple and sweet display font. Authentic beautiful & delightful touches make it the perfect partner to present funny and childish feelings in any design. It's perfect for children's books, funny greeting cards, meal package designs, logos and many others, where simple abstract cartoons or graphics are used. But clearly, its use can be more extensive. I did a few design examples, so you can see how it works. WHAT YOU GET - Uppercase and lowercase letters are full - Numbers, Punctuation, Multilingual Accents - Alternates glyphs I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. We really hope you enjoy and are interested in our offer. If you want to upgrade or need a license or ask questions, you can send me a message and you can immediately start your service doratypefoundry@gmail.com. Thank You

Komet is a sturdy typeface with a calm and upright feel. Although it derives inspiration from classical English sans-serifs, it’s not too closely related to that model. Komet, instead, feels rather more lively and contemporary. Its compact spacing, low stroke contrast and heavy dots and accents give it an almost monolinear quality. The diagonals are slightly curved and the counters of the round letters such as b, o and q are generously wide. The muted, understated middle weights are built for extended body copy, while Komet’s thin and dark weights look brisk and assertive and make for subtly expressive headlines. Komet is an ideal choice for editorial design, branding and corporate design. The Komet family comes in eight weights with matching italics, from Thin to Black. The glyph set of each font contains around 520 glyphs and provides good everyday support for most Latin-based languages. For a wider range of advanced OpenType features, Komet Pro is also available.

Gaveto is the Geometric Sans Serif with 2 styles (Clean and Rough) with combine uppercase and lowercase looks and feel nice balanced. Provide with ligatures in Uppercase variant style make the design letter looks nice. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Font Features : Regular version Rough version Character set A-Z in Uppercase and Lowercase Ligatures Numerals & Punctuation Accented Characters Multiple Languages Supported Recommended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window Character and then please click fi symbol In Adobe Illustrator choose tool Window Type Open Type and then please click fi symbol If you have questions, just send me a message and I’m glad to help. Have a great day, Absonstype

Indipia is a caps-only misprinted font, ideal for display, titles, and headlines. It has alternative characters for all double-letter combinations aa-zz and AA-ZZ to avoid having two identical degraded letters together (You can see this by typing/copying words like mirror BASSOONS into the text box above, with Ligatures on); different characters for upper/lower case letters; and of course all the expected accented characters for European languages. There’s also Stylistic Alternates for some common letters and punctuation which will give a third version of the letter and/or add some random ink-misprints if selected. There are 2 styles -- Regular has small areas misprinted within the letter itself like little bits that haven't been inked, the Solid version doesn't, and the Solid one is on the grey gallery poster image. The zips contain both OTF and TTF versions - install either OTF or TTF, not both (to avoid incompatibility issues).

Tipo Pèpel strikes again with a lush splurge on pure basic geometrical shapes and sizes, those that inspired Paul Renner’s typographic milestone “Futura”. A new look to classic shapes, bringing them back plenty of delightfullly details as the lowercase cursive forms’ long tiles that break the supposed linearity expected from a purely geometrical font. Rhythm given by hidden details in each character of each weight, push “Naste” out of German geometric sobriety, will help us to easily create typographic hierarchies upon the many weights available and the many and accurate details. Excellent results with minimal effort. Wide ‘x’ height, restrained ascending and descending stems; thick but elegant, easy to read and in need of generous white space around, where it feels comfortable. More is better than less. As usual in Type Pépel, full sets of Opentype alternatives and Unicode support for 104 languages ​​plus Cyrillic. 16 weights of typographic beauty in all its glory.

Segment A is a powerful display type family with 18 styles inspired by condensed European grotesques of 19th-century, but with clear geometric proportions. In Black weights, the letterforms are inspired by the aggressive industrial graphic design of the 1960s and 70s. Both have 3 axes and are adjustable in weight, width and 10˚ italic. It is a typeface with narrow proportions, distinctive character, high-quality outline and lots of details. Characters have oblique cuts, sharp tails and highly visible ink traps. All this makes the font more aggressive and edgy. The huge x-height with short ascenders and descenders allows this typeface to be used in blocks with minimal line spacing. Features: – Total glyph set: 631 glyphs; – 18 styles (3 weights x 3 widths + italic); – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; OpenType features: – Proportional numerals, tabular numerals, superiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic alternates (ss01-ss05); – Ligatures; – Case-sensitive forms.

Giambattista Bodoni was an Italian engraver, printer, and publisher who was one of the best typographers of the 18th century and became known worldwide for his iconic serif typeface. In the posthumous edition of Bodoni’s “Manual of Typography” published in 1818 by his widow Margherita “Ghitta” Dall’Aglio may also be found, among the other treasures, the Cancellaresca (Chancery). Ghitta is a redesign of this typeface in its finest form. With strong stroke contrast in 4 optical grades, 850 glyphs with wide range of language support, accented ligatures, oldstyle figures, 8 stylistic sets, and unique way of letter connection, Ghitta Bodoni Cancellaresca follows and builds on the best of Bodoni’s historical prototype and shifts further to a contemporary script typeface full of grace, neatness, and beauty. *** This font is powered by OpenType feature “Ligatures”, so it is necessary to have this function turned on. If you need support or more information, please kindly contact me: spurnej@email.cz

An upright typeface family developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Upright letters with extended ascenders and descenders are ideal on screen. They facilitate word recognition. The exit strokes link words together visually, and in handwriting they lead to spontaneous joins along the baseline leading logically to a joined-up hand. Teachers can print desk strips, charts of letter families and alphabet friezes, as well as consistent material across the curriculum. Together these typefaces provide a valuable resource for special needs teachers. Typefaces developed to meet demand for letters that can be used to produce pupil material for reading as well as handwriting. Regular and Bold typefaces covering pan-European languages: 9 Latin, 6 Cyrillic, Greek, Turkish, 13 Baltic, 8 Rusyn, 6 Nordic, Vietnamese. How to access Stylistic Sets of alternative letters in these fonts Cyrillic Stylistic Sets examples Greek Stylistic Sets examples Vietnamese Stylistic Sets examples

Genesis is a digitization and expansion of a Frank Riley metal typeface called Grayda, originally published to much applause by ATF in 1939. The concept for this disconnected script is quite novel and original among cursives and calligraphic fonts: The minuscules are mostly made with slightly clubbed strokes, which becomes clearly visible in the ascenders and descenders. This alone gives the face a bubbly appearance unlike any other. The formula is completed with two sets of beautiful calligraphic majuscules and a few alternates. The character set of Genesis boasts full support for Western, Central and Eastern European languages, as well as Baltic, Celtic/Welsh, Esperanto, Maltese, Turkish and Vietnamese. Genesis is available for all platforms and in all popular formats. Genesis Pro, the OpenType version, is where the caps and a few other variations alternate stylistically at the push of a button in OT-savvy applications. Genesis Pro also contains class-based kerning.

Fuse Vol 2 Printed is an extension to the popular Fuse & Fuse Vol 2 type family. W Foundry worked alongside Julia Martinez Diana (Antipixel) to create a balanced and consistent texture throughout the whole family. All the typeface’s textures have been meticulously outlined to give a natural look mantaining the soft and round edges, making Fuse Vol 2 Printed more easy-going and spontaneous. It is perfect for large display usage due to the professional shapes of its outlines, which were hand-crafted glyph by glyph. Each character has its own printed style, which is not repeated in the accented characters, nor in other weights of this family. The typeface is designed with powerful OpenType features. Each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support, small caps and many more. Perfectly suited for graphic design and any display/text use. The 32 fonts are part of the larger Fuse superfamily.

Balcony is a decorative display typeface inspired by the patterns of metal safety grills. Its highly geometric features may be used to identify it as Art Deco. It is a monospaced type family with all characters confined in a square frame. The main idea of Balcony is to create a grill-like pattern when letterforms are placed together. This creates an illusionary experience for the reader. The best way to use this typeface is without leading, as shown in the visuals. Balcony also comes with two stylistic sets. The first stylistic set contains most characters with more decorative elements and the second one includes Dingbats. These Dingbats are motifs with simple geometric patterns that may be used for any kind of ornamentation. The diacritics letterforms are geometrically squeezed within the square frame to include the accents. This experimental typeface comes with about 650 characters and four weights (Thin, Light, Regular and Bold). The font family supports Western and Central European languages.

Pop Manta delivers the perfect punch when impact is needed. Useful on everything from boxes of bubble gum to pro wrestling posters. Pop Manta has been described as "Morris Fuller Benton meets Roy Lichtenstein". Benton's 1903 neo-grotesque letter shapes set to a Pop Art beat. With over 650 glyphs, characters, symbols and ornaments, Pop Manta is a complete design kit in one font. A full range of accents and extras allows Pop Manta to speak well over 70 languages. Including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili, Swedish, Croatian (Latin), Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian, Turkish, Afar, Azerbaijani, Belarusian (Latin), Chichewa, Croatian (Latin), Gikuyu, Greenlandic, Guarani, Igo/Igbo, Kuskokwim, Luba (Ciluba), Malay, isiNdebele, Oromo, Pilipino/Tagalog, Setswana, Sidamo, Somali, Sotho (Northern and Southern), Swazi, XiTsonga, Tuareg, Uzbek (Latin), Vietnamese, Welsh, isiXhosa, Yoruba, and isiZulu.

Proper was based on handwritten characters (of my own) that I scanned and then digitally touched up. I kept the digital editing to a minimum so as to preserve the freshness of the original. I did, however, want to convey a sense of propriety and regularity and so my original handwriting was done with quite a lot of control. I kept the size of the lower case characters quite large and this makes the font very readable, even at quite small point sizes. Proper may be used when you need clean, legible text, with a natural look, e.g.: -- magazines aimed at the natural health market -- "natural look" fashion pages -- "natural look" decor pages -- natural food products -- natural beauty products -- children's books -- packaging for children's toys, games etc. -- educational material -- comics Proper contains a full character set with all upper and lower case characters, numerals, symbols, accented characters and it has been carefully spaced and kerned.

The font family KK30/45 is available in 3 weights: Light, Regular, and Bold. Type Designer: Kuncho Kunev The name of family - KK30/45 is from the first letters of the designer's name (K)uncho (K)unev and from the main angles of the slanted stems - 30° and 45°. Release date: December, 2001 HermesSOFT Ltd. The design of КК30/45 incorporates a geometric variety of shapes, and have been originally designed in such a way that all slanted stems are 30° and 45°, The very high x-height and low bottom parts allow typesetting with almost 100% leading. КК30/45 is a display face suited best to sizes 16-18 point and above. There are included also all Cyrillic vowels with accents that are really necessary for the professional typesetting in Cyrillic languages. Supported Languages: Western Europe (Greek not included), Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic. Supported Code Pages: Macintosh and Windows, any for above languages. Opentype features includes kern, fractions, ordinals, superscripts.

This fine lined display type face was named Allioideae because of the ascenders of the lower cases. They are rising upright with a single stroke and are ending - depending on the font style - into a spherical blossom. The name was chosen concerned to the plant allium, that forms an umbel at the top of a leafless stalk, when it is blooming. Allioideae is the name of a subfamily of monocot flowering plants in the family Amaryllidaceae. The name is derived from the generic name of the type genus, Allium. The wide and round capital letters are showing a nice contrast to the lower cases and giving the font a kind of female feeling. That provides a functional and lovely use in headlines for all beauty and cosmetics issues.The typeface appears in 4 different styles. a plain style – Allioideae, a stencil style - Allioideae Stencil, a (dotted) style for both - Allioideae Dot and Allioideae Stencil Dot. It supports multi language as it covers all the latin diacritics and a cyrillic character set. Lots of numbers as monospaced, lining figuers, old styles, sub- and superscript and many fractions in two different styles are giving a nice finish to that font. Also some matching ornaments are included.

Thrift is a beautifully curvaceous serif font with smooth curves and fine lines and plenty of OpenType features. Thrift is perfect for your next editorial, advertising, branding, book, or invitation project. Thrift Regular and Thrift Italic each include approximately 800 glyphs. Specific OpenType features include stylistic alternates, several stylistic sets with features like curved ascenders and descenders, multilingual support (including multiple currency symbols - for kicks I even included a Bitcoin symbol in there), standard and proportional oldstyle numbers, and four ampersand styles. It also includes 24 standard and discretionary ligatures that add character and interest to your typography. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Mail support : julie@upupcreative.com Find inspiration (and sneak peeks at my next font-in-progress) on Instagram: http://instagram.com/julieatupupcreative Facebook : https://www.facebook.com/upupcreative Pinterest: https://www.pinterest.com/upupcreative My website: http://upupcreative.com Please enjoy! I can't wait to see what you make with Thrift! Feel free to use the #upupcreative and #thriftfont tags to show me what you've been up to!

Clementine, from Okaycat, is a font designed to be expressive. First, we wanted Clementine to be uplifting, friendly and warm. Secondly, we wanted it to be familiar, but neither staid nor boring. To make Clementine more warm and friendly, 90 degree corners and cubic forms were not allowed. All straight edges are either subtly curved or lightly tapered (with the small exception of the serif foundations, to create a secure base). To add an uplifting feel, all tapering flows towards the apex of the forms and the ascenders were allowed extra rising freedom above the capital height, similar to the effect intended in the architecture of old European churches -- to point all elements gently upwards towards heaven. To keep Clementine familiar, traditional type setting shapes were used throughout the font. To avoid the usual coldness of typical typewritten fonts, all forms were opened up, calligraphic touches were introduced, and any unnecessary serif elements were omitted. The result is a look that brings a touch of nostalgia or a "retro" feel. Clementine is highly appropriate anywhere a soft and friendly feel is desired. Can work well as a body text, or as ad copy. Clementine is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Avaline is a super smart script font that was 100% handmade. Inspired by hand lettering doodles, the font family combines a mischievous spirit and cheerful style. Its playful letterforms come in Light, Regular, Bold and Sketch, and it comes with tons of language support and fun alternatives. Packed with OpenType features, Avaline comes together to make a truly authentic hand script family package. Its imperfect hand-drawn style is utilized by contextual alternatives – giving each character 3 subtle variations as well as special styles that appear automatically based on where they appear in a line of text. Stylistic alternatives offer completely different styles for all capital and some lowercase letters. Swashes provide numerous flourish options for ascending & descending letters as well as characters that start or end text lines. Small caps and titling alternatives provide great secondary text options, converting the script letterforms to more proportional small cap ones. Avaline also comes with a massive set of extras, including catchwords, swashes & flourishes, arrows, borders, line breaks, laurels and frames. Together they make for a truly organic script font bundle. Avaline seriously comes with hundreds of alternative options, to see everything you can do with the family and to learn how to access them, please visit http://tinyurl.com/htwhetr

Peter Schnorr was a German artist/illustrator of Art Nouveau period (called Jugendstil in Germany and Austria). He was quite adept at calligraphy and did a variety of commercial work, including business signs. He designed at least four different alphabets and collaborated with Bruce Rogers on advertising work and title page designs for books. One of their clients was the publishing house of Houghton Mifflin. I have not been able to discover anything else about him, but I suspect he might be the grandson of the Bavarian artist Jules Schnorr von Carolsfeld, who was once commissioned to do a mural by Ludwig II of Bavaria (whose famous castle was copied by Disneyland). Schnorr did not give individual names to his fonts. Where there is no historical name, we like to follow the tradition initiated by Bauer and name fonts after their designer, with a descriptive adjective in the designer’s native language. Gestreckt is German for stretched or elongated. An interesting deign detail of this typeface is the cross bar of the “T” --it is NOT symetrical. The right hand side extends only 88% as far as the left hand side (a ratio of 9:8). I presume this was done for a more pleasing letter fit. Today Schnorr’s design is frequently offered under the name “Ambrosia.” However. close inspection will usually reveal that the serifs have been treated differently. I believe our font has a greater fidelity to the original design. Please also compare the design of the various auxiliary characters to those in other fonts. Often they are either borrowed from an inappropriate font of a different period or are missing altogether. We make every effort to design characters that are in keeping with the overall design and spirit of the typeface. For example, see the superscript Registered Trademark symbol (0174) and the Double s (0223). I think both are quite successful. Schnorr Gestreckt ML represents a major extension of the original release. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also two alternate letter forms, one ornament and seven ligatures with Unicode codepoints (Private Use Area) and OpenType aalt, ornm & liga GSUB layout features. There are a total of 318 glyphs and 351 kerning pairs. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). This release also incorporates a redesign of several glyphs: the comma, quotes, acute accent, and grave accent.

Fragua Pro is a family of 14 fonts (Latin Extended-A and the Cyrillic alphabet) Condensed Sans Serif of geometric construction inspired by the Russian constructivism of the mid-20th century; the typography has a rounded finish in all corners to avoid the coldness of the rectilinear fonts and providing warmth and docility, the ascending and descending short and a high height of the x make it very compact, all this results in a unique typeface with maximum readability due to the careful configuration of metrics and Kerning. The cursive styles have an inclination of 8 degrees and a narrower proportion than the regular ones, they also have their own letters and meticulous optical corrections to compensate for the deformations produced by the inclination. Fragua Sans has Advanced Open Type functions, several alternative letters, full support for numbers, monetary symbols and crypto currencies and more. 681 glyphs. This typography is specially designed for advertising and editorial composition, behaving correctly in both short and medium texts and headlines where horizontal space saving is needed, being an ideal typographic system for signage, editorial or corporate design. This typography is dedicated to the memory of my grandfather C·ndido (Pa), the blacksmith of my town. THE COMPLETE 14 FONTS PACKAGE INCLUDES THE REGULAR VERSION IN "VARIABLE FONT" FORMAT, compatible with Adobe CC 2018.

NOMAD —Regular is a stand alone font. Nomad -Regular is a clean, interesting revival font. It is a Display font. Nomad, now exclusively in OpenType .oft by Joseph V Coniglio of Coniglio Type. It is a narrow boldfaced font. Its analog source was comprised of an extremely limited die cut, truly generic, craft, peel-and-stick vinyl set of capital letters of ascenders and numbers. It was purchased at a five & dime stores, hardware department from the 1970's. My father owned an original set of characters: Nomad-Regular is nicely expanded to meet the needs of OpenType. The original adhesive labels adhered to the bows of that small boats so fisherman wouldn't get turned away at the Canadian border for not having their vessels tagged and listed with the appropriate license name and numbers, recorded by customs. It was a required serialization of letters and numbers marked on the side of their vessels. On the other hand, most beer and whisky drinking fishers, card players and bait casters would rather not deal with it, but the boat could not cross over the border without them. (Once part of Market LTD from the 1990's, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.) Designer: Joseph V Coniglio Author: Coniglio Type

Aspen is a refreshing and resilient typeface for text of any kind. Functional but not faceless, Aspen derives a very distinctive character from an unusual pedigree. It is loosely influenced by early American and European grotesques, but with more warmth and improved legibility. And where these historical models were rigid and bulky, Aspen’s curves have a gentle sway that makes for very comfortable reading. Relatively generous ascenders and descenders allow the typeface to feel spacious even when set with tight leading. These amiable qualities are matched with a lively italic based on cursive writing. The family consists of nine weights, and is intended for both text and display usage. Visit this minisite to see Aspen in action.

Summer Desire is an original typeface that's perfect for all of your summertime and happy designs! Use Summer Desire in your designs to create a lively, optimistic mood. Its playful, and lighthearted vibe is perfect for any design that needs that extra umph. Make your next blog post, social media update, or poster the most memorable thing your customers have ever seen! And you can also use it for logos, business cards, posters, headlines, T-shirts, product packaging, and more. So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß PUA Encoded and fully accessible without additional design software Simple Installations works on PC & Mac Thank You!

A multilingual type family that features a modern Arabic Naskh with very short descenders and ascenders, which matches with a full-caps Latin counterpart. Molsaq is perfect for setting applications that require tight leading, such as posters, hence the name, which means poster in Arabic. With 1050 glyphs, Molsaq Pro supports Arabic, Farsi, Urdu, and Kurdish, it also supports more than 60 languages that use the Latin script. Molsaq Pro comes with many Opentype features such as, stylistic alternates, ligatures, swashes, and small caps. Molsaq Latin includes all the Opentype features and the full languages support, except for the Arabic script. While Molsaq Arabic doesn't include Opentype features, and only support the Arabic script.

Mirage Againts is a Modern elegant serif typeface with Unique alternative , multilingual support with perfect kerning. This typeface is perfect for an elegant & luxury logo , classy editorial design, women's magazine, fashion brand , cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, Tote bag, T-shirt, Advertising and much more. Mirage Against Features: · Uppercase And Lowercase · Alternates · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day .

Trustee Modern Retro Bold Serif . That has a unique style & luxurious look. is great for logos, editorial, web design, craft projects, shirts, decoration, wedding invitations, packaging, stickers, social media, quotes, magazines and more!. The unique sharp serifs mixed with thin strokes give off a bold mid century architectural vibe. Trustee features: · Alternates And Ligatures · Uppercase And Lowercase · Numerals & Punctuation · Accented characters · Format File: OTF,TTF,WOFF,WOFF2 · Multilingual Support · Unicode PUA Encoded While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day

Introducing new serif display typeface its called Limit Corner. Inspired by victorian style with classic style .OpenType features some characters that allows you to mix and match pairs of letters to fit in your designs. It’s an all caps typeface, with strong and sleek letters. It features over 50 stylised alternatives, offering an infinite opportunity to customise and create logos, headlines, titling, product packaging, labeling, logo, classic shop, badges, movie title, t-shirt, posters, label, greetingcard, letterhead, book cover, etc. To access the alternat glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS and Adobe Indesign Features : Character Set A-Z Numerals & Punctuations (OpenType Standard) Accents (Multilingual characters) Thanks and enjoy designing.

Biotic is a dual-personality 18 style typeface which features two distinct design approaches that can be initiated with the flick of a switch. The natural design approach uses conventional forms for a geometric sans but when you switch to the engineered approach some key glyphs become squared to create an edgy approach in an instant. The characters that change are f, i, j, k, l, t and y, along with all punctuation and accents which switch to the square approach. Biotic covers extended latin and basic Cyrillic languages and includes many opentype features such as stylistic sets & alternates, two sets of arrows, circled & old-style numbers, along with case sensitive punctuation and much more.

Designer Steven Skaggs wanted a versatile uncial typeface that was not simply decorative. Traditionally, a true uncial is a majuscule form, entirely lacking in ascenders and descenders. However, by designing Rieven Uncial, Skaggs found a way to use the true uncial as inspiration but retained a lowercase look and feel. Typically, uncials do not have italic forms but in order for Rieven to be a truly versatile face, it was imperative that it should be accompanied by an italic. The italic form owes much to the historical roots in the letra antigua cursiva of the 15th century humanist masters. Rieven Uncial was awarded a Certificate of Excellence in Type Design in the 2010 TDC2.

I live in a small hamlet near the Rhine river. It is a sleepy little town and it doesn’t have any facilities. For groceries I need to go to the next town. The only road leading to that town has been closed for half a year, because of ‘maintenance’, so doing groceries got a lot trickier. The fastest way to travel is through yet another hamlet in the forest, on a very narrow road with extremely bumpy shoulders. Yes, you’ve guessed it: it is a Bumpy Ride. Bumpy Ride was made using a so called Brush Pen. It comes with all the accents and a sweet set of alternates for the lower case letters.

Cream Garlic is a Classy serif typeface Unique alternate , multilingual support with perfect kerning. This typeface is perfect for an elegant & luxury logo , classy editorial design, women's magazine, fashion brand , cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, and much more. Cream Garlic Features: · Uppercase · Alternates · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded If you want the SVG version please contact me. While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop email. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day .

Bolívar is a contemporary display typeface inspired in the handwriting of one of the most prominent personalities of the Latin American 19th century: Simón Bolívar, “the liberator". The typeface intends to capture the passion of handwritten letterforms and to translate it into type. Among the characteristics that best contribute to its strong personality, are the impressive length of ascenders and descenders as well as the more than 45 degrees of slant. Bolívar mimics certain aspects of handwriting such as the slightly different baseline for each letter and ink clogs in the counters of some letters. Use Bolívar whenever you need to add passion to a piece of text, from logos or single words to sentences and captions.

Supra Extended – designed by Gert Wiescher in 2013 – is the extended version to this new sans typeface family of eight weights. The extended version is designed for sheer elegance and has no italics because they didn't look nice to me. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family for professional typography with an extended character set of over 700 glyphs. It supports more than 40 Central- and Eastern-European as well as many Western languages. Ligatures, different figures, fractions, currency symbols and smallcaps can be found in all cuts.

A bit of happenstance and accident are always full of possibility — Richard Lipton’s Dunhill Script is based on observations of the work of his left-handed calligraphy students and then from a small detail generated by his own freehand sketching. Like his other script typefaces, Dunhill was born from the desire to achieve a certain visual drama. Many details show the pen at work, like the terminal shapes and the caps and ascenders. Dunhill also has a range of alternate stylistic glyphs and contextual features that can transform it into a connected script. It’s a great choice for editorial display or advertising and branding settings on its own or paired with a Roman sans or serif.