Introducing Hipweee Layered Font Hipweee, A new carefully crafted layered rounded Typeface. The Ideas of this fonts are from wide range of reference, baby, kids, school, cafe, food desert & beverages are our main focus for this fonts. So the looks of this fonts must be in the wide range of the reference above. It’s Versatile, Fun, Cute and Beauty feel that you get in Hipweee Typeface Hipweee Created with 7 Layer : Base, Extrude, Shadow, Dot, Flower, Hatch & Inline. Perfect fitted layer to give you a more contrast, more bold look of the title. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, and etc. It shows that Gemoy clearly can accommodate various design style. Language Support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, IrishItalian, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Maltese, Manx, Morisyen, North Ndebele, Norwegian , Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Western, Frisian, Zulu

Now even more design possibilities with the popular DIN Next. With its technical and neutral character, DIN Next has earned a permanent place in contemporary typography. Now, DIN Next Slab expands the font family further, offering new design potential. Now comes the next step, DIN Next Slab, also produced under the direction of Akira Kobayashi. On a team with Sandra Winter and Tom Grace, Kobayashi is creating the new font variant based on the optimized shapes of DIN Next. The expansion will make the popular font all the more flexible and versatile. Apart from that, the geometric slab serifs underline the technical and formal nature of the font and emphasize a central design element of DIN Next. However, the team did have some challenges to overcome. While it is relatively easy to imagine DIN Next Light with slab serifs, the amount of available space quickly disappears when it comes to the Black styles. Winter explains that many tests and trials were necessary to find a compromise between space, letters and the serif shapes. Experiments with modified contrast in the weight or only one-sided serifs were quickly abandoned. The central, technical and powerful character of the font changed too much. Nevertheless, it was necessary to simplify slightly the shape of some letters, such as the ‘k’ or ‘x’, for example. These changes, first developed in the Black styles, were applied to all weights in order to lend the font a consistent appearance. Like DIN Next, DIN Next Slab also has seven weights, which cover the range from Ultralight to Black, each with matching italic. There are various character sets in all of the styles and the four middle weights have small capitals available. DIN Next Slab harmonizes perfectly with the styles of DIN Next: the basic letterforms and weights are identical. Both versions of the font can work together perfectly, not just in headlines and body text, but also within a text; they complement each other very well as design variations. With the new DIN Next Slab, Monotype expands the DIN Next super family consistently. With DIN Next Slab, you can underscore the technical and formal nature of the understated font not only in headlines, but in texts, as well. In this way, you have new and diverse potential for application, thanks to the way the different styles of DIN Next combine perfectly.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

Marvis is a vintage collection of fonts that includes serif, true italic, script, sans serif and slab serif each of them has two style - Clean and Rough style. Also for the script includes Alternates and Swashes. This collection was inspired by vintage signage, logos and this fonts are perfectly suitable for any vintage project and will make it at a high level. This fonts is easy to use has OpenType features. Font collection includes: Full Capital alphabet A-Z for Sans and Slab Full alphabet Uppercase and Lowercase A-z for Serif, Italic, Script Numbers, fractions for Serif, Italic, Script, Sans and Slab Punctuation and symbols for Serif, Italic, Script, Sans and Slab Alternates for Uppercase for Serif and Script Alternates for Lowercase for Script Swashes for Script Ligatures for Serif and Italic "Tb, Th, Tk, Tl, ct, fb, ff, ffi, fi, fh, fk, fl, st"

Forte e gentile, “strong and kind” is the motto of Abruzzo region located in central Italy on the Adriatic coast. As the region it’s named after, Abruzzo typeface is strong yet inviting with its sharp angular serifs and smooth transitions. Abruzzo is a display typeface with high contrast, large x-height and plenty of character. Abruzzo is equipped several OpenType features: Standard ligatures that take care of the collisions between f and other tall lowercase characters, and for more fun there is over 40 Discretionary ligatures including st, ch and plenty of more unconventional character combinations, such as fy, fr, rw, vi, and so on. See the full range in the specimen poster. On top of that Abruzzo has over 70 variants for the standard characters set in Swash, Stylistic and Titling Alternates. Abruzzo best used in stylish headlines, advertising, packages or as a logotype.

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

CONCEPT/CHARACTERISTICS The typeface “Soul Lotion” is a sans serif font for display sizes. Con­struc­ted, clear and sim­ply with mono­line cha­rac­ter. The round and unador­ned look is modern & simple. APPLICATION AREA The modern, clear and simply sans serif font “Soul lotion” would be happy as a display typeface in headline size on the following areas and there simply feel good: Logos/Wordmarks, party flyer, album covers, CD covers, Poster design, video game design, and much more as display typeface for print and digital magazines, books and websites. TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sans Serif Font “Soul Lotion” Open­Type Font (Mac + Win) with 6 styles (regu­lar, bold, light + 3x italic) & 354 glyphs. Incl. accents, alter­na­tive let­ters, liga­tures & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff) KONZEPT/BESONDERHEITEN Die Schrift »Soul Lotion« ist ein serifenloser Font für Headlinegrößen. Kon­stru­iert, klar und einfach mit gleich­blei­ben­der Strich­stärke. Die run­den und schnör­kel­lo­sen For­men wir­ken modern & schlicht. EINSATZGEBIETE Die moderne, klare und einfache Sans Serif Schrift »Soul Lotion«, würde sich als Aus­zeich­nungs­schrift in Head­line­größe über fol­gende Ein­satz­ge­biete sehr freuen und sich dort schlicht wohl­füh­len: Logos/Wortmarken, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Video­spiel Design, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Sans Serif Font »Soul Lotion« Open­Type Font (Mac + Win) mit 6 Schrift­schnit­ten (regular, bold, light + 3x italic) & 354 Gly­phen. Inkl. dia­kri­ti­sches Zei­chen, alter­na­tive Buch­sta­ben, Liga­tu­ren & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff)

Temet Nosce - Serif font family - Multilingual - 6 Styles Temet Nosce Serif font family help you develop your creative projects with its 6 styles and multilingual supports. It was inspired by the famous saying from ancient Greek mythology. The characters that make up its structure were influenced by the carved letters in the old stone inscriptions. According to ancient Greek and Roman authors, there were three maxims prominently inscribed upon the Temple of Apollo at Delphi: "know thyself", "nothing too much" and "give a pledge and trouble is at hand". Their exact location is uncertain; they are variously stated to have been on the wall of the pronaos (forecourt), on a column, on a doorpost, on the temple front, or on the propylaea (gateway). The date of their inscription is also unknown, but they were present at least as early as the 5th century BC. Although the temple was destroyed and rebuilt several times over the years, the maxims appear to have persisted into the Roman era (1st century AD), at which time, according to Pliny the Elder, they were written in letters of gold. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual supports. Ideal for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. Have a good time.

Many street nameplates in Britain use versions of Kindersley serif capitals designed by David Kindersley in the 1950s. K-Type Kindersley Sans is an unfussy alternative to the signage stalwart, perfectly suited to newer environments and more contemporary tastes. Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley’s lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity. For purposes where Transport (MOT) is considered too formal and Kindersley too old-fashioned, Kindersley Sans offers an open and amiable up-to-date alternative. The typeface is comfortably spaced and carefully kerned to deliver beautiful results with ease, and although designed with nameplates in mind, it excels as an all-purpose text face in print and on screen. The tail of the uppercase Q has minimal descent to avoid constriction. Kindersley Sans includes a lowercase designed for signage with short descenders to prevent unsightly congestion. A generous x-height assists legibility, and characters are designed for easy reading and distinctiveness. The curved foot of the lowercase L distinguishes it from the uppercase i. The six fonts contain a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants, so European language nameplates need not be a source of frustration. The ascent and descent of accented characters has been kept to an acceptable minimum.

Designed to be set in big, large and huge sizes in classic TNT (tight-not-touching) style, Benguiat Caslon is dynamite for a wide range of display demands. We also included outline and drop-shadow versions as well as numerous swash caps, ligatures, contextual alternates and automatically-shifting punctuation. Ed Benguiat originally designed this alphabet for the Photo-Lettering library during his tenure as the legendary type house’s art director. When we purchased Photo-Lettering in 2003, one of the first things we did was start picking some of our favorite films to digitize as fonts. Photo-Lettering partner Christian Schwartz chose this expressive serif specimen for its high contrast strokes that stand up to the most vigorous display typography demands without withering against pesky design limitations like screen resolution, ink spread and dot gain. FEATURES: Alternate characters, ligatures and contextual substitutions add an unexpected flair to words and phrases. We also provided a drop shadow to add depth and dimension. Shifting punctuation marks take care of those optical tricks so you don't have to. A delicately expressive outline version adds color even in black and white. BENGUIAT CASLON CREDITS: Typeface Design: Ed Benguiat Typeface Digitization: Christian Schwartz, Bas Smidt Typeface Production: Ben Kiel, Jason Campbell Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

The Camunic language is an extinct language that was spoken in the 1st millennium BC in the Valcamonica and the Valtellina in Northern Italy, both in the Central Alps. The language is sparsely attested to an extent that makes any classification attempt uncertain - even the discussion of whether it should be considered a pre–Indo-European or an Indo-European language has remained indecisive. Among several suggestions, it has been hypothesized that Camunic is related to the Raetic language from the Tyrsenian language family, or to the Celtic languages. The extant corpus is carved on rock. There are at least 170 known inscriptions, the majority of which are only a few words long. The writing system used is a variant of the north-Etruscan alphabet, known as the Camunian alphabet or alphabet of Sondrio. Longer inscriptions show that Camunic writing used boustrophedon. Its name derives from the people of the Camunni, who lived during the Iron Age in Valcamonica and were the creators of many of the stone carvings in the area. Abecedariums found in Nadro and Piancogno have been dated to between 500 BC and 50 AD. The amount of material is insufficient to fully decipher the language. Some scholars think it may be related to Raetic and to Etruscan, but it is considered premature to make such affiliation. Other scholars suggest that Camunic could be a Celtic or another unknown Indo-European language.

Many times, when a new creative process is starting, it is triggered by an everyday action or item. In this case, the looks of a lady’s watch inspired Michael Herold to create his new typeface LUX. The sight of the chronograph sparked associations of the 1950s in Mr. Herold: While this decade was predominantly dominated by brush and feather scripts, there was also a bloom of strict and modern architecture. This special mix of strength and retro style is exactly what Michael Herold is trying to capture in his LUX. The result is a typeface which is perfectly suitable for use on book covers, posters and claims – thanks to its striking impression. The name LUX, Latin for light, is inspired by the high bright-dark contrast within the individual characters. Oft sind es alltägliche Gegenstände, die das Bestreben eines neuen kreativen Prozesses auslösen. So entspringt auch die Inspiration zur Erschaffung der LUX von Michael Herold dem Anblick einer Damenuhr. Der Chronograph löste bei Herrn Herold Assoziationen zu den 1950er Jahren aus: Während diese Zeit hauptsächlich von Schreibschriften aus Federn und Pinseln beherrscht wurde, nahm auch die streng und modern anmutende Architektur starken Einfluss auf die Epoche. Diese Mischung aus Strenge und 50er Jahre Retro-Stil soll in der LUX zum Ausdruck kommen. Das Ergebnis ist eine Schrift, die sich mit ihrer plakativen Wirkung perfekt für Buchumschläge, Poster und Claims eignet. Namensgebend war der starke hell-dunkel Kontrast innerhalb der Schrift – festgehalten in dem lateinischen Wort für Licht.

A typography can often be a deniable, yet crucial factor in designs’ displays and nuances. Additionally, it may be hard to find prominent, elegant, catchy fonts, whereas customers can easily forget designs without the right typography and remember nothing about your brands. Even the most interesting designs will look dull and too ordinary with inappropriate fonts. Therefore, we would like to introduce you to the Stay Calm, the perfect font option to create prominent designs. Stay Calm is an elegant, prominent display serif font to attract everybody's attention. It has bigger and thicker font proportions than the other ordinary serif fonts as its character to ease people to see it in big text sizes. Such unique characters as curvy thin lines and big, protruding dots, make this font suitable to create unique, interesting designs and applicable for bigger text sizes. You may also enjoy the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Stay Calm fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

Inspired by a find a coarse but decorative font was created. "Fundstueck" ist the German term for it. Fonts can be so simple. That is what I was thinking as my attention was turned to this rusty piece of metal. Only a few centimeters in size, I couldn’t imagine which purpose it might truly serve. But my eyes also saw an E, even a well-proportioned E: a width to height ratio of approximately 2/3, black and fine strokes with a 1/2 proportion — could I create more characters on this basis? Thought it, did it. The form is based on a 5mm unit. The strikingly thick middle stroke of E suggests that the emphasis is not necessarily placed on the typical stroke, and likewise with the other characters. But if the font is going to be somewhat legible, then you cannot leave out slanted strokes completely. Eventually I found enough varying solutions for all letters of the alphabet and figures. A font designed in this way doesn’t really have to be extremely legible, which is why I forwent creating lower case letters. Nevertheless, Fundstueck still contains some diverse forms in the layout of upper and lower case letters. Thus, the typeface is a bit richer in variety. By the way — the “lower” letters with accents and umlauts stay between the baseline and cap height. And with that, you get wonderful ribbon-type lines.

Alf R. Becker was a noted sign painter, designer and the creator of hundreds of unique alphabets which were published in the trade magazine Signs of the Times during the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media [and who is also the curator of the American Sign Museum in Cincinnati], Jeff Levine received some reference material on Becker's work. Becker displayed many of his type styles within decorative panels—a popular trend in the days when signs were hand-lettered. Using the reference material as a guide, Jeff has re-drawn twenty-six sign panels for adaptation to digital print work. While the designs in themselves are not thoroughly unique to Alf Becker, he has left behind some tangible examples of how sign painters embellished their lettering work. With the use of complementary colors and tones, these panels—joined with vintage lettering - classically recreate the warm and attractive advertising of years ago.

A Vintage Script for Romance Novels. Lorette began as a digitization of a film typeface from LetterGraphics known as "Laurel". The original specimen included standard Capitals, Lowercase, Numerals, and minimal punctuation, for a bare bones character set. We've fleshed out Lorette to include a full standard character set, an extended international set, Stylistic Alternates, Ligatures, Swash Capitals, etc. so it can be a powerhouse script typestyle. See the 5th graphic for a comprehensive character map preview. Opentype features include: - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and OldStyle figure sets. - A collection of Ligatures mainly revolving around the f character. - Discretionary Ligatures for ct and st combinations. - 3 Stylistic Alternates for variations of some of the lowercase characters. - a Swash feature for swash alternates of the Capital letters. Approx. 993 Character Glyph Set: Lorette comes with a glyphset that includes standard & punctuation, international language support, and additional features.

Hello Font Lovers! Introducing my script font called Belleson! Belleson is a luxury script that contains many characters and ligatures that will show elegant taste when you use this font. Belleson has many functions - logos, blogs, websites, and all everything that related to letters! How to use this font if I can’t operation of many software like as Photoshop, illustrator and anything? Please don’t worry about it :) You can use this font in all of software in your computer! With more than 40 glyphs of ligatures in this font, you will fall in love with this font. Belleson provides a handwritten look - natural but elegant in taste. Ligatures contain of : al ah at att ett ott itt ff ll tt il it am an ul th ch nt nl oi ct cl ot ol rr om on oo or ck gh of el ell et st sl ss sh op ee nn ant all ull oll

Blimone Inspired from beautiful Art Nouveau styled and pop culture, Blimone approach with geometric shapes and dynamic humanist blends several calligraphic concepts to create a modernist style but with a strong and unique look. The subfamily Blimone ink-traps and the italic characters to appear monumentally "Sharp" in large sizes and jaggedly imperfect in small sizes. The Bilmone font family includes 24 fonts, Support for the variable version of the font, you can choose the individual thickness and the slopes. Support has many fancy ligatures, common standard ligatures are found in some fonts include fi, ff, ffi, fy, ti, tt, ty, tti, ttl , ffk, ft and the discretionary ligatures are gi, ggi, gt, gk, gj, gl, ggl, gh, gti,ct, cti, cty, et, eti, ety, st, and more. all intended to create a natural look that imitates the flow and spontaneous joins of handwriting.OpenType also supports tabular lining numbers, fractions, Numerator and Denominator.

Black Stanky a work that is purely a result of handwriting, has a natural characteristic. this is perfect for invitations, signatures, blogs, social media, business cards, product brands. Black Stanky has Stylistic standard, Stylistic Initial, Stylistic Teminal and ligatures. and includes uppercase and lowercase letters, numbers and punctuation marks. Accessed by using : OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. A Total of 362 Glyphs: Multilingual Support : ŠŒŸÐÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝ àñáâåäãçæìíîïòóôõöøùúûüýÿèéê뢚ߞ Ligature accesed :St dd th gg pp ff wh mm of ck on we are all wr en ex ee ve oo ox ax ss so rr ot al tt ch ll rl ct ol rt at cl az 4 alternative setst accesed : a b c d e f g h i j k l m n o p q r s t u v w x y z special greetings for all, all of us all smoothly in running the routinen

Ceciliany is a classy font family that adds calligraphic touches to the basic structure of the display serif. Italic styles share a language set and OpenType Features compared to static styles, but have a completely different metrics In addition, an elaborate and detailed kerning system is also operated separately. 9 weights and 18 unique styles offer designers the amazing creativity of the serif font family. It offers a variety of options for editorial design as well as typography work for various channels. Features 9weights, 18styles Optimized Kernings Stylistic Set Fractions Oldstyle Figures Discretionary Ligatures : AM, AR, BA, BR, CA, CH, CR, DE, EA, El, FR, GA, GH, HR, IL, IM, JA, KA, KR, Ki, LA, LE, LO, MA, Ma, Me, NA, NE, NT, Nu, PS, RA, RE, RO, Ro, SA, ST, TH, UB, Ze, Zo, ft, li. Standard Ligatures : ff, fi, fl. * In particular, ligatures displayed in preview images can be easily applied to Adobe apps. Check out the ligature features of the software you are using.

Heanffe is a one-of-a-kind handwritten font with a beautiful feel. To maintain a true, hand lettered experience, this font includes the following ligatures: Alu, at, ch, dd, ee, ff, ll, oo, pp, ss, tt, ef, es, et, eth, ily, it, ith, om, ot, on, ou, ont, th, ov, ow, sh, st, ut, zz Just use your imagination, your project will become more alive and look Elegant than ever with one of the Heanffe font. Feel free to play with all the whole alternates! Heanffe also includes full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation. The font has smooth wet ink texture, so would be perfect for all designs. You can make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, wedding invitation, identity card, packaging, Website or any purpose to make your art / design project look pretty and trendy.

Monocle is a clean and contemporary monospaced geometric sans that excels in titling, data and numerical settings due to its clear and systematic design. The capitals-only format increases the harmony between letter pairings, opposing the irregularity of mixed case fixed-width typefaces. Stylistically, Monocle has the feel of a neutral sans, yet its underlying structural finish exudes a strong sense of order and authority. Its geometric foundation is especially pronounced in the constructed round forms. With multiple stylistic sets, individual letters can be exchanged to fine-tune text settings for a unique custom type solution. Features include: -Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ff, fh, fj, ft, tt, th, ct, st) -Alternate characters (O, I, S, G, R, Q, _, $, ©, #, •, %) -Slashed zero -Full set of numerators/denominators -Automatic fraction feature (supports any fraction combination) -Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Ahra from Magpie Paper Works is an upright, hand-lettered script full of fun calligraphy. This Opentype font was created with a pointed pen & ink, and features a host of special features. Within Ahra are three sets of capital letters, ranging from simple to quirky to traditional, as well as single-word characters for common titles (Mr., Miss, Dr., etc.) prepositions (to, the, for, etc.) and envelope addressing (blvd., st., etc.). You'll also find simple & automatic end-of-word swashes, old-style numerals and special double-letter ligatures for a true hand-drawn look. Ahra Hand features decorative word art, all lovingly drawn in a swirling traditional calligraphy style. There are 88 unique greetings, prompts, and phrases, plus an ornate set of numerals 0-9. Ahra Swash includes over fifty unique hand-inked flourishes, borders, corners, swashes and curls. Mix and match for a truly custom look! All were designed to coordniate with the Ahra alphabet, but can be used to enhance other faux-calligraphy fonts.

We would like to introduce our new Thin Line Geometric Font Runista. Runista is a linear font in folk style, lowercase is decorated with geometric elements. The typeface includes a Decorative and a Symbol version. Letters and symbols are perfectly combined with each other. The font is easy to use in various design programs or without any program. Runista Typeface is suitable for lettering posters, music albums, tattoos and photo overlays in hipster style. The font works great for both printing clothes and craft products branding and packaging. Also use individual letters and symbols to create logos and monograms. Runista Decorative contains stylistic alternates for letters O, Q, C, D, G and the most popular ligatures: bb, cc, dd, ee, ff, gg, ll, mm, nn, oo, pp, rr, ss, tt, zz, ty, ly, ct, sp, st, in, ch, ck, sh, ou, qu, th, ph, ge, ng, gn, gh, au QU. The font has extensive language support.

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

Presenting Greatest Richmond! An Authentic Brush Font with 3 alternates and 36 swashes. This font made with the perfect combining of each character. You can type by Mix & Match with alternate version to get a unique combining. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and any project. You can see in the presentation picture above, Greatest Richmond looks stylish and wildly on design projects. So, Greatest Richmond can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, website, logotype, product packaging, etc. Besides that, Greatest Richmond also has some ligature that gives a surprise when you type certain characters combining. The ligatures are ee, ff, ii, nn, oo, rr, ss, st, St, tt, lt, rt, and th. WHAT'S INCLUDED? 1. Greatest Richmond Basic • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 2. Greatest Richmond Alternate One • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 3. Greatest Richmond Alternate Two • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 3. Greatest Richmond Alternate Three • The first version comes with uppercase, lowercase, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 3. Greatest Richmond Swash • The first version comes with 36 Swashes. You can feature all with typing A-Z, a-z, and 0-9 Thank You Azetype Studio xx

It's been said that creativity requires ten parts to perspiration to one part inspiration. But not always. According to its creator, Mira Vucko, ITC Needlescript was designed in one breath." An accomplished lettering artist, Vucko was sketching letters one afternoon. "I was using a calligraphy nib and was drawing the alphabet without much thought," she recalls. "When I allowed the down strokes of a couple of letters to fall below the baseline, I realized that I had created the impression of movement. I kept drawing letters in this fashion and did the same with horizontal lines. I added a firm ending to the descenders. Instead of dots above the 'i' and 'j,' I placed strokes in the opposite direction." In this way, the first characters that were to become ITC Needlescript emerged. The finished design is a lively, distinctive alphabet that produces a striking texture on the page. Letters intertwine and overlap to create a sense of movement and graphic intensity, especially when reversed out of a dark background. Vucko lives, works and was educated in Zagreb, Croatia. She lived in France and Sweden while in her twenties, but then returned to Croatia to work as a graphic designer for the country's largest newspaper. It was here that her passion for type and typography was born. Vucko has since gone on to become one of Croatia's leading graphic designers, and has won many awards for her advertising and packaging design. Vucko recommends that ITC Needlescript be used for "titling, lively but 'thorny' content, and anywhere that a little typographic drama is called for.""

What comes to your mind if I say Architype, Geometric, Gaelic, and Uncial? An impossible combination of features? An unrealistic setup of tastes as weird as your music list? Or some part of a joke told by your favourite comedian? Just chill and stick to the idea that is possible. Gallos combines the conceptual historical elegance of the Uncials with the practical rationalism of the Geometric style. Moreover, this typeface is composed by two sub families: Gallos Uncial and Gallos Architype. The letters “M”, “N”, “W”, “a”, “m”, “n”, “r”, and “w” differ between these two models. The first one is related to both: The Uncial script aspect displaying the leaned “a” with a closed bowl, and the classical geometric style depicting more conventional uppercase and lowercase letters “m” and “n”. The Architype one is inspired by Paul Renner’s Architype model, thus the leaned “a” has an open counter, the “r” is composed by a stem and a dot, and the rest of the mentioned letters were built using square rational features. Both models are connected by classical Uncial features such as the curved stroke “e” and curved shaft “t”, and with Gaelic vibes which can be seen in uppercase and lowercase letters “K” and “X”. Also, the curved descender “g” and “y”, alongside the curved stem “z” connect really well with the rest of the system and provide more uniqueness to the Gallos type family. Without further ado, we say to you: let’s make Uncials popular again!

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

Burford is a font family that I sketched while traveling through Europe. I was mesmerized by all the unique typography that was showcased throughout the five countries I visited. Inspired by all that I had seen, I found myself spending 4-5 hours per day in Amsterdam’s Vondel Park drawing characters. Once back in the states I digitalized Burford, deciding it would make for a beautiful layer-based font. Burford Pro package comes with all 18 layering fonts including 5 base layers, 3 top layers, 5 bottom layers and 2 sets of graphic elements. They are strategically made to build on top of each other, creating a cohesive and easy to use layer-based family. Each font also comes with a set of Stylistic Alternatives for letters A C E F G H P Q R. Burford Basic package is created for users who don’t have access to premiere design programs (such as Illustrator, InDesign, Photoshop, etc) and are unable to use the layering effect. Burford can still be a powerful tool as each font can also be used on its own. It includes every font file not needed for the layering effect. (Include 13 fonts - Burford Basic, Dots, DropShadow, Extras Set A, Extras Set B, Extrude B, Extrude C, Inline, Line, Marquee, Outline, Stripes A and Stripes B). The Burford Extras set uses all basic keyboard characters - around 100 total elements per set. They are designed to go specifically with Burford and complement its varying styles perfectly. The set includes: banners, borders, corners, arrows, line breaks, catchwords, anchors and many more!

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

La tipografía “Tipo Metro CDMX” fue desarrollada por Lance Wyman como parte del proyecto “Metro” desde los años setenta, y es uno de los elementos clave de la cultura visual del transporte del Sistema de Transporte Colectivo Metro (STC Metro). Este estilo se ha convertido en el icónico fundamental del trasporte público para los residentes de la Ciudad de México. En esta edición, los tipos minúsculas son una adaptación “no oficial” para el Tipo Metro CDMX, enriqueciendo la tipografía a un estilo visual de altas y bajas, por lo que se prescinde del diseño base como trabajo propio para enfatizar los tipos minúsculas exclusivamente, además de que se han añadido algunos caracteres de acentuación extendiendo su uso a otros lenguajes. Los tipos son una nueva propuesta por Ixipcalli en el presente año 2023. The “Tipo Metro CDMX” typeface was developed by Lance Wyman as part of the “Metro” project since the 1970s, and is one of the key elements of the visual culture of transportation of the Metro Collective Transportation System (STC Metro). This style has become the iconic fundamental of public transportation for the residents of Mexico City. In this edition, the lowercase types are an “unofficial” adaptation for the Tipo Metro CDMX, enriching the typography with a visual style of highs and lows, so the base design is dispensed with as my own work to emphasize the lowercase types exclusively, In addition, some accentuation characters have been added, extending their use to other languages. The types are a new proposal by Ixipcalli in the current year 2023.

"Crypto Currency - Block Chain" quickly entered our lives and its use is increasing day by day. Blockchain became more popular in web, TV and printed works. It is necessary to use their logos when defining "Crypto Currencies". But it is not easy to access these logos fast. "Cryptocurrency Font Family" which I prepared for you, is a resource that you can reach without searching for too many logos. Cryptocurrency Font Family contains 200+ logos. These are the most popular "Block Chain" logos in recent years. The popularity rankings changed over time and you can contact me if you need new logos and changing logos. I can create the "Block Chain" logo you need or apply the changes. You can send your new logo and logo change requests to me at "buyuksel@hotmail.com". Subsequent corrections and additions will be completely free. After the first purchase, there is no additional payment for updates. When using Cryptocurrency Font Family, "Cryptocurrency No.00 Guide Map" is absolutely free to download and use. This will help you a lot to define coins. "Guide Map" contains the letter and the Unicode numbers. --- Contents --- Ardor ARDR, Bitcoin BTC, Bitcoin Cash BCH, Bitcoin SV BSV, Bitcoin Gold BTG, Bitcoin Diamond BCD, Bitcoin Private BTCP, Bitcoin Plus ZBC, Bitcoin Z BTCZ, Etherium ETH, Etherium Classic ETC, Xrp Ripple XRP, Ripple, Teher USDT, Litecoin LTC, Litecoin Cash LCC, Eos EOS, Binance Coin BNC, Monero XMR, Cardano ADA, Steller XLM, Tron TRX, Tezos XTZ, Unus Sed Leo LEO, Chain Link LINK, Cosmos Atom ATOM, Huobi Token HT, Neo NEO, Hedge Trade HEDG, Crypto.com CRO, Iota MIOTA, Dash DASH, Maker MKR, Usd Coin USDC, Ontology ONT, Nem XEM, Ve Chain VET, Dogecoin DOGE, Basic Attention BAT, Z Cash ZEC, Paxos Standard PAX, Ftx Token FTT, Decred DCR, Qtum QTUM, Syntehetix Network SNX, True Usd TUSD , Raven Coin RVN, Ox ZRX, Okex OKB, Algorad ALGO, Holo HOT, Centrality CENZ, Augur REB, ZB Token ZB, Seele SEELE, Omisego OMG, Swipe SXP, Waves WAVES, Horizen ZEN, Kucoin Shares KCS, Theta THETA, Nano NANO, Nervos Network CKB, Byton BTM, Lisk LSK, Molekular Futures MOF, Digibayt DGB, Bittorent BTT, Icon ICX, V Systems VSYS, Iost IOST, Abbc Coin ABBC, Komodo KMD, Nexo NEXO, Siacom SC, Monacoin MONA, Luna LUNA, Enjin ENJ, DxChain Token DX, Hyper Cash HC, Verge XVG, Bytecoin BCN, Steem STEEM, Zilliqa ZIL, Maidsafe Coin MAID, Energi NRG, Bitshares BTS, Digixdo DGD, Rif Taoken RIF, Aeternity AE, Block Stamp BST, Zcoin XSC, Matic Network MATIC, Quart QNT, Silverway SLV, Kyber Network KNC, Iexec Rlc RLC, Electironeum ETN, Ren REN, Status SNT, Status Euro EURS, Single Colleteral SAI, Nash Exchange NEX, Grin GRIN, Decentraland Mana MANA, Stratis STRAT, Solve SOLVE, Kick Token KICK, Aelf ELF, Golem GLT, Pumdi X NPXS, Enigma ENG, Metaversa Etp ETP, Digitex Futures DGTX, Elastos ELA, Gxchain GXC, Chiliz CHZ, Ripio Credit RCN, Aion AION, Fetch Ai FET, Loopring LRC, Dragon Coin DRG, Wayki Chain WICC, Thunder Token TT, Iotex IOTX, Nebulas NAS, Hedera Hashgraph HBAR, Bread BRD, Hyperion HYN, Ignis IGNIS, True Chain TRUE, Wax WAX, Tierion TNT, Wanchain WAN, Reddcoin RDD, Wink WIN, Gatechain Token GT, Diamond Platform DPT, Nuls NULS, Yap Stone YAP, Vertcoin VTC, Project Pai PAI, Denta Coin DCN, Ark ARK, Fun Fair FUN, Loom Network XMX, Edu Care EKT, Aragon ANT, Factom FCT, Populous PPT, Revain R, Harmony ONE, Qash QASH, Groestl Coin GRS, Civic CVC, Fantom FTM, Swiss Borg CHSB, Santiment Network SAN, Moeda Loyalty MDA, GoChain GO, Dent DENT, Edc Blockchain EDC, Storj STORJ, Divi DIVI, Pivx PIVX, Bancor BNT, Metal MTL, Loki LOKI, Wirex Token WXT, Bitkan KAN, Gnosis GNO, Network NEW, Thorchain RUNE, Odem ODE, Bibox Token BIX, Bosagora BOA, Oceon Protocol OCEON, Celer Network CELR, Chimpion BNANA, Mixin XIN, Veritasium VERI, Mine Bee MB, Bankera BNK, Bitcoin2 BTC2, Casino Coin CSC, Bitforex Token BF, Dynamic Trading DTR, Poseidon Network QQQ, Obyte GBYTE, Cloak Coin CLOAK

The Novera family is a sharp geometric sans in ten weights plus matching italics, available in two versions – Modern and Classic. It has a contemporary, approachable and multifunctional yet characteristic design, that comes with an extensive glyphs set of 1000+ glyphs per font, meeting all typographic demands. The Design Vertical terminals, circular shapes and angular apexes – Novera truely breathes geometry! But the concept goes beyond the application of rational geometry. The intension was to create a highly legible family suitable for every day usage inspired by the work of Paul Renner, Eric Gill or Jakob Erbar, combining the geometric with the human and the functional with the unconventional. Although Novera is inspired by the past, its appearance is unmistakingly modern. Modern vs Classic Novera is available in two versions - Modern and Classic - born from the same source file but with different characters set as default. This creates subtle but effective distinctions such as the double-storey a (Novera Modern) which is optimized for legibility in longer text paragraphs, as opposed to the single-storey a (Novera Classic) which allows a purely geometric appearance. Another distinguishing feature are the ascenders on Novera Mondern, which extend above the cap height for an elegant presence, compared to the ascenders on Novera Classic, ending at the cap height, for a compact and helvetica-flavored look. Novera Modern was intended for usage in body copy, whereas Novera Classic was planned for headlines, short paragraphs or logos, but both versions can be used vice versa too, of course. Alternate Characters To maintain neutrality and a modern appearance, the standard character set largely dispenses with idiosyncratic forms. This is in contrast to the alternative forms with the gill-like lowercase letters g and t as well as a traditional shape of S and the German ligature t/z, which traces back to old German spellings. Also inspired by German poster designs from the early 20th century are the elongated i-dots and dieresis-dots that can create eye-catchers in headlines or logos. By the way, both versions, Novera Modern and Classic, can be created via stylistic set 1, 17 and 18. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. If you like arrows and other shapes, you will love Novera! The family has a built-in extensive symbols-set including 48 different arrows and various geometric shapes or icons. Weights With its 40 styles and 1000+ glyphs per font, the Novera family covers all thinkable design scenarios from branding to web, app or editorial usage. It blends in perfectly in text heavy paragraphs with its mid-weights like Light, Regular, Medium or Bold or stands out like a monument in headlines and posters with its extreme weights like Thin, ExtraLight, Black or Ultra. Testfonts If you like to test the fonts before buying the full version, please follow the link below. Please note, all test fonts are available for evaluation purposes only and contain a limited character set! A commercial license for the full version must be purchased separately. Please send a mail to contact@renebieder.com for more information. Download the test fonts here: https://www.renebieder.com/test-fonts

Homogenic is a new casual modern script font. This font describes about girly, feminist, elegant, dynamic, humanist, easy to use and will bring a good harmony when the letters are connected and paired each other. FEATURES - Support Opentype Features - Support Ligatures - Automatic stylistic alternates bb dd ee ff gg hh ii kk ll mm nn oo pp rr ss tt zz ah ak al am an ar ba bh bl br bt cl ch eh ek el em en gh ght gl gn gr gt ie ih ik il im in ir jt lt nt oh ok ol om on or or ov ow se sh sk sl sn sp sr st ue uh uk ul um un ur ve we wi wo yl yn yt Sl Sh Sk - Uppercase - Lowercase - Numbering and Punctuations - Multilingual Support - Works on PC or Mac USE Homogenic works great in any branding, logos, magazines, apparel, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste.

Sign Helpers JNL is a collection of silhouette images carefully redrawn from two distinct sources. Prior to their bankruptcy in 1984, the Holes-Webway Company of St. Cloud, MN produced thousands of their "Webway" sign kits that were utilized by merchants, libraries and schools throughout the country. At one point they included in their sales catalog a selection of die-cut images for embellishing sign work. In the late 50s and throughout the 60s, the Joseph Struhl Company (now known as Magic Master Industries) produced cling vinyl sign kits for business, and a home movie titling set for do-it-yourself film makers. This set also featured die-cut embellishments. A generous selection of designs from both kits have been faithfully re-drawn in digital form to pay tribute to two innovative companies. Other fonts based on products from these companies are Sign Kit JNL (Webway® Sign Kit), Cling Vinyl JNL, and Sign Maker JNL (Magic Master® Sign Kits). Trademarked names are used purely for reference purposes.

Seuchter Experimental is a product of the fertile Jugendstil period in Austria. Drawn by Bruno Seuchter, about whom little biographical information is available, the design first appeared in Seuchter’s publication, Die Fläche, in 1902. Die Fläche means “surface or expanse,” presumably a reference to a “tabula rasa” or clean slate. The implication is one of starting anew, rejecting the past and searching for fresh, different modes of visual expression — which is exactly what Art Nouveau attempted to do. Seuchter Experimental is a quirky and light-hearted font. Ligatures include AT, AV, CH, CK, FJ, LO and ST. Although basically an all-cap font, several of the accented letters in the lower case position represent the oft-seen desire to keep the accents below cap-height. The a-umlaut at 228 and u-umlaut at 252 reflect Seuchter’s original design. For a discussion of the difference between a diaresis and an umlaut, see Appendix B of Bringhurst’s The Elements of Typographical Style. In the meantime, give this font room to breathe.