Chalice is a new original Canada Type family inspired by two different engraving eras and locations: Medieval England and 19th century Russia. Chalice's construct is geometric at heart, though the wedge serifs and their contribution to the overall idiosyncrasies of the counterspace give it a spirit entirely different from usual geometric types. Chalice's personality is that of a knowledgeable advisor, clinical yet old-fashioned, aware yet unsurprised, secular yet serene, clear yet artistic, hungry yet redeemable. Chalice comes in 4 weights, light to black, that range in expression from a sobering wise whisper of confidence all the way to the bells and whistles of Judgment Day. Such flexibility in expression among the different weights of the same typeface of this kind is quite rare, and will be appreciated by discriminating graphic artists who require more than just another tombstone type. Chalice's character set comes fully loaded across all 4 weights. Two dozen alternates are built into the map, including unicase variations on the a and e, double-barred alternatives for A, E, F, H and S, and connecting versions of b, d, f, h and t. Such variety gives the user to subtly define the set type without overpowering it. Chalice comes in all popular font formats, and is available in single weights, as well as one complete affordable package.

Introducing Mistress Benedict Font Duo - a pair of hand brushed fonts attentively designed to work together, helping to produce beautiful typography! This pack of two fonts works so well together and can be used for so many projects, from food packaging to a simple quote that you upload to Instagram. Use them on your t-shirts, mugs, cushions, handmade card designs, anything you like! What do you get? Benedict Font has a neat, handwritten style to it and it's tall ascenders gives that added elegance. With it also being hand brushed Benedict is perfect for all hand lettering typographic designs and works well for short advertising headlines and sub-headers. Benedict has a full set of uppercase and lowercase alternates giving you a different style - it's like two fonts in one! Mistress Benedict Brush includes ligatures, discretionary ligatures and a full set of alternate characters. It also has international character support. Mistress Benedict Caps was hand brushed with the same brush pen and is the perfect companion for Benedict. It's an all caps font where the alternates are actually the lowercase letters. It looks gorgeous on it's own too! Like the brush version, Mistress Benedict also supports international languages. Well, there it is! I really hope that you enjoy using this font duo and please ask if you have any questions. Jo

Megatype Script is a handmade script that comes with a extrude effect. This font Inspired by Retro style and combination with Hand Lettering style. I hope this can make inspire you from your work. You don't need extra effort to create an extrude effect for this font. That's because we include the extrude with this font. This means you can saves your time by only adding the extrude font on the back layer. Megatype Script is great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Poster, T-Shirt/Apparel, Magazine, Quotes, Signs, Instagram Design, Advertising Design, and any Type Design needs. Megatype Script also has a standard Multilingual Support. Megatype Script features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. 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. Megatype Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. 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. If you have any question, don't hesitate to contact me by email : megatype04@gmail.com Thanks so much for looking and Enjoy it!

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

Baritta is a modern script font made with brushes and ink, thick and irregular lines. It contains the complete set of lowercase, uppercase, alternative, binder, punctuation, numbers, and multilingual support. Get inspiration from the preview above. Baritta is perfect for use in watercolor designs or bold handwriting styles, such as blog headings, branding, t-shirts, weddings, social media, product design, stationery, advertisements, clothing, cover books, business cards, greeting cards, branding, merchandise, invitations and handmade quotes and more. Baritta features alternative OpenType styles, binders and international support for most Western Languages ​​included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Baritta is coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use the Font Book, and Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor / application. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, please let me know. I am happy to help :) Thank you & Happy Designing!

Ardalista is lovely script calligraphy made with a touch of sweet, lovely and charming attraction that adds to the impression of a beautiful and elegant. a charming typeface and So beautiful on invitation like greeting cards, sublimation, wedding invitation, branding materials, business cards, quotes, posters, headings, signature, logos, t-shirt, letterhead, signage, lable, news, posters, badges and more What is interesting? Imagine you get a beautiful and very charming font in the design you make. that would be the answer you wanted right now. Ardalista has a script typeface and extra letters that allows you to be more free in designing. What's new? Hey..look at this. besides you get a font with over 150 alternates, ligatures and swashes. let's imagine what you can do with all that. yeah that's awesome. For those with Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Ardalista also comes with Opentype features such as access to all the alternate letters and double letter ligatures. 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. Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share.

»Artis« is the name for my latest art-project-font. Obviously I just chopped off the last »t«. Then I looked it up on Wikipedia and what do you know, it is of latin descent. »Ars Gratia Artis« which means »art for arts sake« or in French »l’art pour l’art«, a perfect font name. If I would cut off the »s« as well it would mean disambiguation and that in turn is, what I just did here. Enough disambiguation! »Artis« is a modern classical beauty with extreme contrast between up- and downstrokes that make it unique with a touch of art deco and showing Renaissance roots. But – »Artis« is a twin-font that has an elegantly decorated twin sister »Artis-Swing«. Between the 2 fonts you have endless possibilities for combination. I love these twins! It is a great everyday workhorse with seven weights from ExtraLight to Bold and all the necessary weights in between. Great for short copy and elegant headlines! With 879 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Artis« has a set of Cyrillic that is – besides Russia – also good for Serbia, Macedonia and Ukraine. It has oldstyle- and lining-, tabular- and tabular-oldstyle-figures and many ligatures. »Artis« comes in Sans and Swing and is an elegant, playful and friendly font. Enjoy!

Introducing Corpsy, the horror display font with a trash style and a unique droplet touch. Its spooky design perfectly captures the essence of Halloween, nightmares, and horror. Ideal for posters, t-shirts, art crafts, unique headlines, logotypes, and many more. What makes Corpsy unique is its distinct droplet effect, adding an extra layer of fear to any design. This font also pairs well with other horror-themed families such as Ghoulish and Gruesome. Corpsy comes in various styles, including regular and bold, and boasts an extensive character set, making it versatile for any project. Its special features include ligatures, stylistic alternates, and swashes. The design concept for Corpsy was to create a font that could embody the essence of all things horror, yet still retain a unique and identifiable style. We wanted to create a font that could stand out amongst the other horror display fonts available. We created Corpsy for designers who wanted to create horror-themed designs that were more than just clichés. This font is perfect for those looking to push the boundaries of horror design and create something new and unique. Corpsy is not a revival or based on any historical design. It was created from scratch, with the goal of becoming a staple font in the horror design world. Try Corpsy today, and take your horror designs to the next level.

Introducing Delaras, a modern script font created with brush and ink, creating a bold and irregular baseline. It contains a complete set of lowercase, uppercase, alternates, ligatures, punctuation, numbers, and multilingual support. Get some inspiration from the preview above. Delaras is perfect for use in water color design or lettering style bold hand, such as blog headers, branding, t-shirt, weddings, social media, product design, stationery, advertising, apparel, cover books, business cards, greeting cards, branding, merchandise, invitations and handmade quotes and more. Delaras features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. 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.How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Delaras is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. 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.How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, please let me know. I'm happy to help :) Thanks & Happy Designing!

This font pair was crafted by hand under inspiration of old-fashioned typography on different vintage labels, packages, sighs and others. It’s will be a godsend for those who want to add vintage mood to design project. Collection includes Script, Serif and it’s variations like Regular, Rough and Aged. This pair perfectly cooperating with each other. Brokson can be used in different purposes: lettering and logotype, labels, t-shirts, product packaging, advertising and many others. In addition to the basic set, Brokson Script has beautiful alternatives of Uppercase characters, variations of the end for Lowercase and some ligatures. Also, there are two types of end-swashes and eight lengths of each style. Brokson Serif was designed as a secondary and additional font after Script, but in the process of their use I realized it also look great as a priority. Quick combinations for Opentype features: Uppercase Alternates - just add for example «2, 3, or 4» after Uppercase; End-letter - just add «2» at the end of the word; End-swashes (tails) - just add _1, _2, _3… or /1, /2, /3…up to 8, where number is length of tail. This combinations works only with activated Standard Ligatures option in Opentype panel (Adobe Illustrator / Photoshop). Multilingual Support Danish, Dutch, English, Estonian, Faroese, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Slovene, Spanish, Swedish, Turkish.

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

This is a perfect font for historical or fantasy titles. It is influenced by ancient Nordic runes. the strokes flare slightly, to a concave terminal for a finely carved appearance. There are two sets of capitals in PR-Vanaheim-DC (Dual Capitals); one set of narrow letters, more closely related to Runic forms, and one set which includes wider and circular letters, which can be freely combined with the narrow letters for the variety associated with hand lettering. There is one version with dots placed in the centre of large counters and one version without the dots. The broad caps character set includes characters which allow for tight spacing; a dropped L, and a tall T. There are also two different lowercase sets, one modern, and one archaic, all of which can be freely mixed to fine tune the appearance of your text. Here is the brief description of the available faces: PR-Vanaheim-Med-DC-01 Duplex Caps PR-Vanaheim-Med-DC-02 Duplex Caps, Dotted counters and dot space PR-Vanaheim-Med-DC-03 Duplex Caps, Dotted counters PR-Vanaheim-Med-LC-04 Broad Caps, with modern style lower case. PR-Vanaheim-Med-LC-05 Narrow Caps, with modern style lower case. PR-Vanaheim-Med-LC-06 Broad Caps, with archaic lower case. PR-Vanaheim-Med-LC-07 Narrow Caps, with archaic lower case.

Introducing One Heart is a handwritten font, using a brush and ink effects that combine calligraphic brush styles, irregular base lines, rough edges, thick and organic movements. One Heart Script includes 242 characters, ligatures as well as multi-language support. One Heart can be used for various purposes such as posters, logos, t-shirts, signage, business cards, magazines, book covers, wedding invitations, greeting cards,brand projects, product packaging, invitations, news, blogs, everything including personal charm ,etc. Files included: ~One Heart ( otf ) ~One Heart ( ttf ) ~One Heart Swash ( otf ) ~One Heart Swash ( ttf ) To enable OpenType Stylistic Ligatures, you need a program that supports the OpenType feature. such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7.How to get access ligatures glyphs from open type fonts : http://youtu.be/iptSFA7feQ0 One Heart is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. You can use the Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).How to access all alternative characters, using Windows Character Map with Photoshop : https://www.youtube.com/watch?v=Go9vacoYmBw Thanks so much for looking and please let me know if you have any questions.

Introducing Dunver - a display typeface font inspired by vintage albums and posters from 1960s music bands. The classic typeface, combined with fun and groovy impressions, make Dunver a unique and distinct font choice. This font is perfect for any kind of display purpose, including album covers, posters, labels, t-shirts, apparel, signage, quotes, logos, greeting cards, and logotypes. Dunver is especially well-suited for music and party events. With its retro feel and bold design, it can help you create designs that perfectly capture the energy and excitement of the event. Whether you're designing posters, flyers, or social media graphics for your next gig or music festival, Dunver can help you make an impact. The font comes with a range of features, including alternate characters divided into several OpenType features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. These OpenType features can be accessed using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop CorelDRAW X version, and Microsoft Word. In the zip package, you will find Dunver in otf, ttf, and woff formats. It comes with uppercase and lowercase letters, opentype alternates and ligatures, numbers, punctuation, and symbols, as well as multilanguage support. Dunver is not just a font - it's a versatile tool that can help you bring your creative vision to life.

Analisa is a special modern style font. Crafted with pinpoint accuracy with beautiful curves. with alternate characters and bonds that make your work very special. Analisa is perfect for use in watercolor designs or bold handwriting styles, such as blog headers, branding, t-shirts, Great for branding designs, logos, greeting cards, title packaging, weddings, social media, product design, stationery , advertising, clothing, book covers, business cards, greeting cards, branding, merchandise, handmade invitations and quotes, and more. Immediately use our fonts to make your work more amazing. Feature analisa of OpenType style alternatives, International binders and support for most Western Languages ​​included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Analisa are coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing.

Amorie is a tall and skinny hand drawn font. It comes in various weight and styles, and with an array of opentype options. Built to appear completely hand crafted, different designers could produce completely different results, selecting either Modella (classic and chic), Nova (fun and fancy) or SC (Small Caps and all business.) Each style comes in light, medium and bold and has an accompanying italics version. Opentype for this font includes Contextual Alternatives, which produces three versions of each character, making sure no two identical letters appear next to each other thus giving your design a fully authentic look. There are also stylistic alternatives, which offer different style to a select few characters, including capital letters: A, K, R, Q, Y and lowercase letters: a, e, k, t, y. Lastly, is a large set of swashes, 3 for each letter they accompany. For the most part this includes the whole uppercase alphabet as well as lower case letters with an ascender or descender. Amorie includes a large set of graphic extras, including stylish frames, arrows, line breaks, corners, flourishes and more. The complete package gives you one unbeatable font family. If you do not use Opentype but are using a program that includes a full glyph panel, you will be able to access each of the style variations you want.

Presentation QuarterBraille (Abbreviated as "QB" thereafter) is a decorative, steganographic and lattice font. Its core design concept is that Braille dots are represented as "quarters of a square"[1]. This is illustrated by posters 1 and 2 (NB: these glyph parts will be called "QB dots" thereafter). The other glyph parts (see poster 3) are purely decorative and meaningless in terms of Braille dots encoding[2]. All glyph parts are meant to generate a wide variety of patterns from horizontal and vertical combinations of glyphs. There is also a graphic convention to differentiate uppercase from lowercase letters with the presence or absence of shape subparts (in the "endings", "quarter of a circle with a ring" and "quarter of a diamond with a small square in the middle") like shown by poster 4. This font is suitable for very short texts (e.g. logos, acronyms, quotes, ambigrams, pangrams, palindromes, etc...) but on the other hand it may be used for steganographic purpose like geocaching as well as fictive alphabets (e.g. Alien/SciFi/Fantasy/Antique civilizations). Posters 1. Font Logo: the displayed text is " Quarter " followed by " Braille". There's a rainbow layer above the text to highlight the "QB dots", this is achieved by A..Z glyphs with "only QB dots" (codes 230..255) 2. Anatomy of a Glyph (L) and "QB Dots" (quarters of a square) 3. Glyphs Parts: Square and Cross (Inverted square), Circle and Inverted Circle (with or without the small circle in the middle), Diamond (with or without the small square in the middle), Inverted Square and Circle, Shape combos, Ending 4. Uppercase vs Lowercase (tiny shape subparts are shown in red) 5. Sample 1: Bathroom sink with QB tiles on the credence 6. Sample 2: Hands knuckle tatoos: "LOVE/HATE"[4] 7. Sample 3: Poker Hand: pocket Aces. It's an Ace of Hearts (Ah) on the left and an Ace of Spades (As) on the right. Like in regular cards, the card value (e.g. Ah) is displayed twice: at the top and rotated by 180 degrees at the bottom. This poster also illustrates that QB could be used to print embossed playing cards with tactile and visual display of card values. 8. Sample 4: Pangram: "Adept quick jog over frozen blue whisky mix" 9. Sample 5: Latin Magic Square: "SATOR AREPO TENET OPERA ROTAS" (NB: for compensation of the 2/3 glyph ratio, letters on each line are separated by a space: "S A T O R", ...). 10. Sample 6: Quote of Mahatma Gandhi: "Learn as if you will live forever, live like you will die tomorrow.". This is also a demonstration of border glyphs combinations. 11. Sample 7: Steganography use case: the text is a sequence of 64 aminoacids (1 Letter notation), this protein was described in a research paper "The complete Aminoacid sequence of an amyloid fibril protein AA of unusual size (64 residues) 1975". 12. Sample 8: Border Glyphs with the provided styles and mixed styles. The words are the same than in poster 9 ("SATOR AREPO TENET OPERA ROTAS"). Despite the 2/3 glyph ratio, the "TENET cross" was achieved by both inserting spaces in horizontally ("T ENE T") and by using the "thin borders glyphs". Notes a. Border glyphs[3] are meant to enhance the esthetics of text samples displayed with QB b. Special characters (e.g. *$()[].,;:&@# ...) are provided and follow the NABCC (North American Braille Computer Code) convention. c. A..Z Glyphs with only the "QB dots" are provided as demonstrated by posters 1 and 2 (A/N: this was very useful to create them). d. Glyph Map: 32..64: Special characters - 161..187: "Thin variant" of Border glyphs, 192..229: Border glyphs, 230..255: A..Z with only the "QB dots" - Codes 176 an 181 are "regular SPACE" (empty glyph). Footnotes 1. There is indeed two shapes which represent the braille dot: the "quarter of a square" and the "quarter of a cross". It's because a cross may be considered as an "inverted square" because the square corners are merged in the center. 2. That's why the SPACE glyph is only made of decorative/meaningless glyph parts (i.e. no "QB dots"). 3. For other fonts with border glyphs, please take a look at my other "decorative Braille fonts" (GoBraille, HexBraille, KernigBraille, StackBraille, MaBraille, DiamondBraille, LorraineBraille). 4. LOVE/HATE knuckle tatoos are inspired by the anthology scene from "The Night of the Hunter" movie (Charles Laughton 1955), it also appearead in "Do The Right Thing" movie (Spike Lee 1989). Disclaimer This font is not appropriate and not meant to print text documents in Braille for the blind readers audience.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™, and Soho®.

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

English description Karela is a humanist slab serif family. Karela is also the Basque word for gunwale, this is, the widened edge at the top of the side of a boat, where the edge is reinforced with wood or other material and to which the thwarts are attached. Gunwales resemble the way slab serifs reinforce vertical stems giving a more robust appearance to the letters. The sturdy, solid and often mechanical structure that is customary in slab serif or mechanistic typefaces is softened in Karela applying subtle tweaks as: humanist proportions, slightly curved endings in ascenders, and curved edges in serifs. The influence of calligraphy is noticeable all over the character set, especially in counters and letters with instrokes like “m”, “n” and “r”, and it becomes explicit in the italics. On the other hand, its low contrast, generous x-height and the constant width of characters across weights makes it very convenient for editorial uses when low resolution is a concern. Karela pursues to give a human touch to a strong and highly functional structure. It seeks for the ideal combination of strength, precision and warmth of the wooden parts painstackingly handcrafted by ancient boat builders. Besides its 12 standard styles, Karela offers also four additional fonts called "grades". Grades are subtle changes in stroke weight in order to compensate for differences in printing media or display conditions of text layouts. To minimize these subtle changes without a reflow of the text they have to be designed with the same character width of the base style. Karela offers 4 grades for its Regular weight: Grade Minus 5, Grade Minus 5 Italic, Grade Plus 5 and Grade Plus 5 Italic. This makes possible to counteract the effect of changes in paper, temperature, paper, background color… In addition, Karela takes this no‑reflowing idea from grades and extends it to the whole range of styles, allowing to play with any of its weights without undesirable text reflows. Enjoy the layout stability while you experiment and play with variations! Karela presents also a wide range of Opentype features for a professional text layout.

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

Welcome to the nostalgic ’70s with Scrubby, the typeface that will take you on a trip down memory lane! If you’re looking for a font that exudes softness, look no further than Scrubby. This typeface is inspired by the Bookman Italic, a font that was popular in the 1970s and remains iconic today. Scrubby is a typeface that embodies the spirit of the ’70s with its wild swashes and alternate versions of letters. The best part is that these are automatically substituted based on context, thanks to your application’s standard ligatures capability. So, whether you’re starting a word with “A” or ending it with lowercase letters like “k”, “h”, “m”, “n”, “r”, “v”, “w”, or “y”, you’ll get a fantastic curl on the left or a charming curl on the right respectively, adding a touch of softness to your text. If you’re worried about tail collisions or if you simply want more control over the swash effects, you can manually activate or deactivate them using your application’s OpenType swash or stylistic alternate settings. So, what are you waiting for? Relive the ’70s with Scrubby, and add a soft, friendly touch to your graphic design projects! You can easily access all the alternate characters by using your system’s character map or glyph panel. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

How can Teutonia be called “Art Nouveau” with all those straight lines? It seems like a contradiction. In fact, however, Art Nouveau embraces a rather wide variety of stylistic approaches. Five well-known examples in the field of architecture serve to illustrate the range of diversity in Art Nouveau: Saarinen’s Helsinki Railroad Station, Hoffman’s Palais Stocklet in Brussels, Lechner’s Museum of Applied Arts on Budapest, Mackintosh’s Glasgow School of Art and Gaudi’s Sagrada Familia in Barcelona. Only the last fits comfortably within the common perception of Art Nouveau. Whereas Gaudi would avoid the straight line as much as possible, Macintosh seemed to employ it as much as possible. The uniting factor is that they all represent “new art” -- an attempt to look things differently than the previous generation. Even when they draw on the past -- e.g. Lechner in the use of traditional Hungarian folk art -- the totality of the expression in new. Teutonia clearly shows its blackletter roots in the ‘D’ and the ‘M.’ Roos & Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimer took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them. Teutonia is compact and surprisingly readable at 12 points in print, but does not do as well on the screen. Extra leading is suggested. Four ligatures are supplied: ch, ck, sch and tz. The numerals are tabular.

Mizwinki Display is an all caps sans serif font family that seamlessly blends organic elegance with ornate industrial precission reminiscent of the Art Deco period. The typeface has organic forms that give it a clean decorative and somewhat oriental appeal. This trendsetting trio consists of three font styles, all denoted as MD (Mizwinki Display): MD-Base: This style forms the foundation of the font family, featuring smooth stems and geometric terminals. It blends organic and industrial designs, with letterforms like E, F, W, N, and M crafted from continuous flowing geometry. MD-Ink: Building upon MD-Base, this style introduces spurs and slits, evoking the ornate look synonymous with classic tattoo art letterforms. MD-InkLine: A unique offshoot of MD-Ink, this style features an inline aesthetic that enhances the ornate appeal. Tighter spacing between letterforms allows the glyphs to blend into each other while maintaining legibility within the inline letter silhouettes. Ideal for logos, headlines, packaging, digital ephemera, and apparel, Mizwinki Display is versatile. Despite being a display font, it works well at smaller sizes and is suitable for low-count body copy. Technical Specs: _____________________________________________________ 3 Font Styles / 12 Open Type Features / Extended Latin Character set (Basic Latin; Western, Central and South Eastern European Latin) / Currency Symbols / Punctuation and Parenthesis / Arrows / Basic Mathematical Symbols / Special Symbols / Basic Numerals / Circled Numerals / Numerators and Denominators / Table Figures / Inferiors and Superiors & Fractions Support for 112 Languages: _____________________________________________________ Afrikaans / Akan / Albanian / Asturian / Asu / Bafia / Basque / Bemba / Bena / Breton / Catalan / Chiga / Colognian / Cornish / Croatian / Czech / Danish / Duala / Dutch / Embu / English / Estonian / Ewe / Faroese / Filipino / Finnish / French / Friulian / Fulah / Galician / Ganda / German / Gusii / Hungarian / Icelandic / Igbo / Inari Sami / Indonesian / Irish / Italian / Jola-Fonyi / Kabuverdianu / Kalenjin / Kamba / Kikuyu / Kinyarwanda / Koyraboro Senni / Koyra Chiini / Langi / Latvian / Lingala / Lithuanian / Lower Sorbian / Luba-Katanga / Luo / Luxembourgish / Luyia / Machame / Makhuwa-Meetto / Makonde / Malagasy / Maltese / Manx / Masai / Meru / Metaʼ / Morisyen / Northern Sami / North Ndebele / Norwegian Bokmål / Norwegian Nynorsk / Nuer / Nyankole / Oromo / Polish / Portuguese / Quechua / Romanian / Romansh / Rombo / Rundi / Rwa / Samburu / Sango / Scottish Gaelic / Sena / Serbian / Shambala / Shona / Slovak / Soga / Somali / Spanish / Swahili / Swedish / Swiss German / Taita / Tasawaq / Teso / Turkish / Upper Sorbian / Uzbek (Latin) / Vai / Volapük / Vunjo / Walser / Welsh / Western Frisian / Yoruba / Zarma / Zulu

The shapes of the f-holes on a violin reminded German designer André Maaßen of an italic letter "f". Maaßen used these captivating contours as the theme for his type family, Varius. The name "Varius" is an homage to the manufacturer of the violin that inspired Maaßen's project, Antonio Stradivarius, the most famous manufacturer of violins in music history. Varius has three separate styles. Varius 1 and its italic are the base style of the family, and are typefaces in the baroque serif manner. Varius 2 and its italic are slab serif egyptiennes, slightly heavier than Varius 1's more classical forms. Varius 3 and its italic are semi serif faces; their characters are serifed, but some of the serifs have been cut off. The family is rounded out with two pi faces: an ornaments font (which can be used in conjunction with the text fonts, or on its own to create beautiful borders or individual decorative elements), and a font of musical symbols and notations. Each of the six text fonts has dozens of supplemental ligatures included in their character sets. When these fonts are used in an OpenType-supporting application, such as Adobe InDesign, these ligatures automatically appear in text when the "Discretionary Ligatures" feature is activated. Additionally, the character sets include added alternate glyphs, such as a swash "m" or "n" to finish off a line of text. These can be inserted manually in applications that include glyph palettes (e.g., Adobe InDesign or Illustrator CS). All of the Varius family's letterforms appear slightly narrow, and traces of the wide-nibbed pen can be seen within their forms. Additionally, the shape of a violin's f-hole is a reminiscent element within all of the family's curves. Varius is particularly suited for use many applications, such as body text, newspaper text, display text, headlines, posters, books, screen design, and corporate identity. Use in sizes ranging from body copy text to display and poster format allow the different facets of the typeface to effectively present themselves. The effects can be as versatile as the possibilities! Due to its special character, the typeface could be used in the design of a logo, or within an appropriate corporate design context, to particularly stress individuality.

My goal was to make a design that might fit in anywhere,” says Jim Ford about his Quire Sans™ typeface. “I wanted it to be highly functional and sexy at the same time.” With one foot comfortably in the realm of oldstyle design and traditional book typography, and the other in evolving electronic media, the Quire Sans family does, indeed, fit in just about anywhere. As for sexy, someone once quotably wrote, “A great figure or physique is nice, but it's self-confidence that makes someone really sexy.” Yes, Quire Sans is sexy, performing confidently in virtually any setting. 2014-06-26 00:00:00.000 57.9900 F43063-S193385 42831 Neue Frutiger World Monotype https://www.myfonts.com/collections/neue-frutiger-world-font-monotype-imaging https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/279026_ed8c8093fe1ac59ebe9e3ee1d9262c8e.png Neue Frutiger World is designed for global use with an impressive range of 10 weights, from Ultra Light to Extra Black, with matching italics. It embodies the same warmth and clarity as Adrian Frutiger’s original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese. “Before Neue Frutiger World it was not an easy task for western brands to find families in Arabic, Hebrew, Thai and Vietnamese which match with their Latin,” says Monotype type director Akira Kobayashi, who led the Neue Frutiger World project. “They may find a type with closer expression, but there was no guarantee if the bold version in the non-Latin family matches the bold in their Latin. Neue Frutiger World offers a better solution.” In addition to Neue Frutiger World’s linguistic versatility, it works hard across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments. The Neue Frutiger World fonts can be paired with Monotype’s CJK fonts: M XiangHe Hei (Chinese), Tazugane Gothic (Japanese), Tazugane Info (Japanese), and Seol Sans (Korean). These were all designed to address brands’ needs to expand into Asian cultures and solve for global typographic challenges.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™ and Soho®.

Biscuiterie is a Monoline Script Typeface, a classic and fun vintage script. Combination with classic & modern style fonts. This font can be used easily, even in mixing and matching with other fonts. So that it can provide alternatives and new sensations for designers or craftsmen, in working on various projects. This font you can use for various purposes. Such as logos, wedding invitations, t-shirts, letterhead, signage, labels, news, posters, badges, etc.Barlington comes with uppercase letters, lowercase letters, numbers, punctuation, and so many variations on each character including OpenType alternatives, and multilingual support. Biscuiterie features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. 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.How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Biscuiterie is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. 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.How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you have any question, don't hesitate to contact me. Thanks so much for looking and Enjoy it!

Nexa Slab is a geometric slab serif font whose design is based on the already popular best-seller Nexa . The font family contains 3 basic forms: italics, obliques and uprights, each of which has 8 different weights. This visual richness makes it the ideal slab serif font family for the web as well as for print, for motion graphics, logos, t-shirts and so on. It is also great for headings, fitting nicely with both small and large typesetting text blocks. Nexa Slab draws from the rich traditions of the classic Neo-Grotesque slab serif fonts such as Lubalin Graph, Rockwell and Memphis, which conceal the richness of typesetting text in its crucial advertising function. Just like these fonts, it’s design is subject to rational, carefully thought-out, thick and thin bars with a low contrast between them. The letters are characterized by the strict geometry and square proportions of the original, extra-fortified by suitably balanced slab serifs. Nexa Slab is serious without being rigid and inflexible, finished and lacking in nothing, systematic without being monotonous, and though it may seem at first glance to be more suitable for short, direct messages; in the hands of a master designer... it can build and create exquisite and harmonic designs. Open Type Features: Lining figures (proportional and tabular) The “f” ligature set Alternate characters (a, g, y) Automatic fractions Automatic numerators Automatic denomerators Automatic subscript and superscript Automatic ordinals Extended language support (most Latin-based scripts supported)*

Vintage Price Tags JNL comprises three sets of numbers in both ribbon, circle and star patterns which, when combined will produce point-of-sale price elements. The designs were re-drawn from examples found in an old wood type catalog, and are now collected in digital format. Ribbon-style numbers are found on the upper case keys. A through J have the large numbers, K through T are the smaller, underlined numbers. The remaining upper case keys contain the dollar sign, cents sign and the phrases "each", "for", "dozen" and "pair". On the lower case, the circle set of combination numbers are on the following keystrokes: The keys a through j are the left side semi-circle numbers and the "k" key is a blank left side semi-circle. The l through u keys are the right side semicircle numbers and the "v" keystroke is a blank right side semi-circle. The star set is on the standard numbers keys for the left side of the star, with the right side characters on the corresponding shift keystrokes for the number keys. In following the original design examples, a cents sign follows the numbers on the right side of the circle or star sets. The lower case w through z contain a left side star blank, a left side star with $1, a right side star blank and a right side star with small double zeros (to comprise a star shaped price tag for $1.00).

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans. Now, Nimbus Sans is also available as Round (like the popular URW fonts Futura Round and Eurostile Round). The Round versions are intended to facilitate the work of designers and typographers. The fonts can be used directly, without further preparatory work in graphic programs as finished, high-quality Rounds.

Buntype’s new Bunday™ Sans Font Family consists of four main states with different moods: the crisp and distinctive sans, the cute script styled upright and the matching italics (these upright styles are currently not available). All states of Bunday™ Sans share the same contemporary, clear and open base forms and create a space-saving and homogeneous text colour. Despite the fact that the overall width is space-saving or narrow, Bunday™ Sans offers good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media.  Bunday™ Sans ships with 9 standard, 9 upright italic, 16 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more.  Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Sans Specimen PDF Bunday Sans OpenType® Quickguide Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 4 Moods: Sans, Upright, Sans Italic and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Available only in applications with advanced OpenType® support

Gibon draws inspiration from the fascinating comic book universe, inhabited not only by many legendary superheroes, monsters and superbadass antiheroes, but also by its own legendary typefaces. Every cartoonist and hand letterer needs a pencil, a T-square and on and on. For digital lettering, books Gibon is an option. This handy toolkit helps you easily letter your comic strips, but even if you have nothing to do with cartooning, this bundle can simply add some comic book feel to your design or make some noise with layered sound effects. The basic font for speech balloon inking is Gibon Lettering, while Gibon Bold and Heavy let you emphasize certain text. Gibon Bold is further developed as a multilayer type where different styles are designed to be overlaid on top of each other, letting you work with built-in shadows, 3D effects and outlines to create striking SFX. Gibon Balloons offers different types of layered speech balloons and a few halftone patterns. The OpenType contextual alternate feature is set to automatically apply the random effect using two sets of glyphs. Traditionally, comic books are lettered in caps only, which explains why Gibon is an all caps font. To easily access alternate characters they are encoded as lowercase letters. For example, type the uppercase “I” to access the crossbar “I” and the lowercase “i” to access the crossbar-less “I”. Turn on stylistic set number one to use only crossbar-less “I”.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans. Now, Nimbus Sans is also available as Round (like the popular URW fonts Futura Round and Eurostile Round). The Round versions are intended to facilitate the work of designers and typographers. The fonts can be used directly, without further preparatory work in graphic programs as finished, high-quality Rounds.

Introducing 'Afolkalips' a tribal display font. Inspired by hinterland culture in the world, especially Papua Tribe, Indonesia. The Papuan Culture has many native tribes based on their location, culture and different ancestors. The equation is, they have a culture of decorating the body with paint from plants. The motives are also diverse, but with the characteristics of firm lines. In addition to various line motifs, Papuan hinterland people also explore colors that distinguish one tribe from another. You can see it on face decoration, as well as their body parts. The tools they used to paint their faces were usually with wood or leaves. Clear lines are etched, producing a natural, rough and authoritative form. It is this form that inspires us in designing the 'Afolkalips' typeface. All-capitals font with strong strokes that very recommended for headline or display on a traditional theme. Complete with 50+ custom ligatures that give you more variations. Also featured with 28 accents. This font also has ornament swashes to give your design more tribal looks, you can use the swashes as a frame or decoration. Suitable for your design such as poster, flyer, t-shirt design, logo, magazine, signage, or billboard. Afolkalips is a minimalist-joyful font which is flexible to apply in bright theme or elegant style. What you'll get : - Uppercase - Lowercase - Numbers - Punctuations - Symbols - Stylistic alternates - Ligatures - Accents Hope you like it! Thank you for your support and happy designing!

Ladington is a retro and modern typeface inspired by 60s - 80s designs with more unique exploratory styles such as swoshes and alternative characters. This font is made from a manual sketch with lots of strokes then finished into a font. Create your design project with this font and extra illustrations to make it more beautiful. This font is also suitable for designs such as logos, stickers, t-shirt designs, banners, posters, signs, display designs, packaging and other amazing designs! Enyoy with our products and feel free to contact us for support! Feature : Complete Set of Uppercase & Lowercase Characters Numbers & Punctuation Multilingual Language PUA encoded Open Type Feature To use the alternative features of OpenType Stylistic (including swosh), you must use a program that supports OpenType such as Adobe Illustrator CS, Adobe Indesign, Corel Draw X6-X7 and Microsoft Office 2010 or later versions. An additional way to access alternatives/swoshes is using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or any of the more programs that have Character Pop. Thank you for buying our products and supporting us! We hope that this font will become part of your design project. If you have any other questions, inquiries or concerns, don't hesitate and have fun contacting us directly. We'd love to be able to help you even more! If you are satisfied with our product, please put your star in our design review, it is very great moment for us. Thank You! :)

Floro is a typographic family with 3 members designed by Carlos Fabian Camargo. Its idea combines medieval ideas, grotesque, stencil and grunge for T-shirts, stickers, advertising material design. More specifically the concept of Floro join several DNAís coordinating X height, ascendant, descendant and wide, in which proportions and adaptive optics were determined to inject great visual impact when composing titles. Its forms and counter forms have imperfections controlled with vitality and consistency. Floro is useful for ranking words and phrases with corroded edges and creases between the lines of his letters. In that vein, Floro refers to improvised design, deletion and copying. For that reason, its determinants seem stencil patterns that attract the attention of the reader. Its inaccurate decisions were planned that way, in which the type of contrast seems made with a flat tip and the amount of contrast between thick and thin is medium. Its sizes, regular and italic shine by their systematic wear and terminations sometimes in pointed forms resembling medieval darkness. In short, we can say that Floro comes from the miscegenation of Gothic calligraphy texture, foundational calligraphy and some refinements of gothic writings with italic sans-serif ideas of late 19th century. Even with the blur appearance, floro has ideal proportions to pile for horizontal and vertical areas when composing titles with striking looks and robust. And finally, floro dingbats are related shields and stamps, to accompany the written resulting useful at the level of visual support and hierarchical.

A squarish uppercase font perfect for logos and short eye-catching headings. The lowercase contains some alternate letterforms - more specifically: uppercase have closed forms (I made a new A D and R), and lowercase have some open alternatives (new B E F P and T in addition to the A D and R). I noticed the two width version of the H and made similar normal and wide versions of J and L. Then I added lots of missing glyphs and all the diacritic letters, of course - and finally the family has been expanded to 7 weights AND corresponding Italics! Enjoy! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.