The altered cut glyphs feature as the capitals of the font; to sample the cuts and ligatures type in ALL CAPS in the Typetester. Ardela Edge is opentype in overdrive. Its a stylised geometric sans serif family with extreme cuts, sharp angles and multi-sensory interactive ligatures. Affected characters are spread into three upper-case only subfamilies, with distinct styles, and different personalities. The bold character breaks and considered ligatures create edgy, modern type that feels like bespoke typography. Ardella Edges three subfamilies appear as - X01, X02, X03 These three styles create thousands of combinations with options from super minimal to the more experimental. This is a hands on designer package, available in 9 weights, with italic and outline faces and as a variable font - each one containing over 550 glyphs. Full European latin based language support. Ardela Edge's three family concept means all character alternates are accessible to all, on any software. The cut glyphs feature as the CAPS of the font, whilst the unaffected letters appear as the lowercase. Many subtle ligatures are accessed by typing in all caps, however to access all ligatures requires software with opentype capabilities, such as Adobe Illustrator, Photoshop, InDesign or Inkscape.

Afshid is a sans-serif font family in three weights and tow width. Afshid Regular and Afshid ExpandedRegular, Afshid Bold and Afshid ExpandedBold, Afshid Heavy and Afshid ExpandedHeavy. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. Afshid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afshid design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Afshid’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Afshid was developed for multiple languages and writing conventions. Afshid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

If you’re in need of some serious typography, stop scrolling. Barth. Yoooou heard that right. Designed with a love for horror movies and 90s Nickelodeon nostalgia, Barth is the best font. Get serious about your design work, get Barth. It’s burgery. Looking for a horror font that is as fun and nostalgic as it is eye-catching? Barth. Yoooou heard that right. This retro font is sure to get your viewers hooked on your work with its bold style and innocent yet spooky lettering. It’s perfect for posters, books, movies, even restaurant signage and beyond. Features Doubles Elimination gives you a more natural look. Stands out and get noticed…. be heard. Includes a Remedy667 Font Catalog PDF, all your favorite fonts in one handy catalog. Additional Information Some fonts may require special graphic design software to access OpenType features. Examples of these programs are Adobe Illustrator, Adobe Photoshop, Adobe Indesign, and Corel Draw. Feedback is always welcome. If there is anything missing from our typefaces that you would like to see, or if there are any issues that occur when using them. Please don’t hesitate to contact us or email me at nick@remedy667.com and let us know.

Milton Glaser’s Kitchen Typeface from the mid 1970s exemplifies the bold 3-D art deco revival genre that was a trademark of the Glaser style. This typeface resulted from his involvement in the design of the The Big Kitchen in the World Trade Center’s concourse in New York City. The new P22 Glaser Kitchen takes on the technical challenge of overlapping 3-D shadows by offering two styles. P22 Glaser Kitchen Regular is spaced out so that the shadows do not overlap the white spaces of the neighboring letters. Whereas the P22 Glaser Kitchen 3D Fill and 3D Shadow can be used layered on top of one another to achieve the tight spacing intended by Glaser. P22 Glaser Kitchen was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Lecturia is a modern humanist sans serif typeface. Ascending dynamic movement characterizes the structure of it’s characters -- the stylistic alternates emphasize this impression. The family comprises eight weights from the most delicate "Hairline" to the strong "Bold" -- each upright and italic. Using the variable font, the intermediate levels can be controlled fluently. The forms and proportions of Lecturia have been selected to be very legible as body type for longer texts. Lecturia ist still legible from a great distance or under unfavorable conditions. In large sizes as a heading, the font is very eye-catching. The shapes of the individual characters follow the "humanistic" form language of modern faces. In addition to ligatures for problematic letter combinations, it contains stylistic alternates for some characters that make the appearance even livelier. Small caps provide a restrained opportunity for emphasis. In addition, Lecturia offers several sets of numerals: proportional standard figures, lining figures, proportional oldstyle figures, non-proportional tabular figures, superscripts and subscripts, numerator and denominator to represent fractions, circled numbers. The very good legibility of Lecturia makes it the ideal typeface for information systems -- a selection of directional arrows is included.

Meet "Neue Comic," a rounded typeface making a bold entrance into the design scene, aiming to redefine the delicate balance between playfulness and practicality in typography. Crafted with the recognition that rounded aesthetics enhance information retention and legibility, Neue Comic delivers a distinct, rhythmic design that breaks through traditional design boundaries. Reflecting on the divisive legacy of Comic Sans, we pondered: Is it really deserving of all the hate? Comic Sans entered the typography scene in 1994 with the noble goal of injecting fun into casual contexts. However, it fell victim to misuse and eventually succumbed to an undeserved sense of imposter syndrome. This prompted us to create a typeface that transcends these limitations. Inspired by the non-connecting script of comic book lettering, Neue Comic seeks to recapture the charm of the '90s while acknowledging the genuine intention behind Comic Sans—offering accessibility and friendliness. Avoiding the pitfalls of overuse, Neue Comic presents itself with seven weights and corresponding obliques, showcasing the flexibility of a variable version. Specifications: - Files included: Neue Comic, including obliques - Multi-language support (Central, Eastern, Western European languages) - OpenType Features (Superscript and Subscript Numerals, Fractions, Oldstyle figures) Thanks for viewing, Unio.

Busan Garden is a bold display font that brings the spirit of Busan to life. Inspired by the vibrancy of Korean aesthetics, this font exudes strength and cultural richness, making it a captivating choice for designs that demand a powerful and impactful presence. The characters in Busan Garden stand tall with a robust and thick weight, portraying a sense of confidence and solidity. The sturdy letterforms, characterized by sharp angles, create a visually striking appearance that captures the dynamic energy found in Korean design. Busan Garden is not just a font; it's a visual journey through the streets of Busan. In addition, enjoy the features here. Features: Alternates Ligature Multilingual Supports PUA Encoded Numerals and Punctuations Busan Garden fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. 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.

Layal is an Arabetic type design with a calligraphic flavor. It follows the guidelines of the Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Layal employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying Tatweel before Alif Lam Lam Ha will display the Allah ligature. Layal family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to standard English keyboard punctuations and major currency symbols. Layal is available in normal, bold, black, light, and extra light, each both in regular and italic styles.

Kamane is a new font family, designed by Naghi Naghashian. It is based on classic calligraphic “Naskh” with the modern typographic metric. It is a Font family, in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Kamane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Kamane design fulfils the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kamane was developed for multiple languages and writing conventions. Kamane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Butter Sweet is a charming smooth cursive script with a little french touch. It’s perfect for handcrafted brands that are looking for a bold script font with an authentic handwritten feeling. Use it for blog headers, signatures, elegant branding, wedding stationery, products packaging, instagram quotes, greeting cards, social media posts, and so much more. Butter Sweet is designed with a large selection of Opentype features such as contextual alternates, a full stylistic set (Uppercase and lowercase), 38 regular ligatures, 18 terminal forms ligatures, 22 beautiful terminal forms for lowercase letters and you have 4 different ampersands to play with. Software Requirement: ButterSweet can be used in any software though alternates, ligatures and terminal forms require a software that is Opentype capable. Note that you won’t be able to access them features in softwares such as Canva. How it works: Make sure you have activated the « standard ligatures » option in your Opentype panel (Illustrator & Photoshop) Add an «8» after your ending letter to switch to a terminal form letter. Multilingual support is also available for the single letter terminal form. Language support ButterSweet includes multilingual characters for western and central and European languages.

In the collection of vintage and historic images available online from the Library of Congress is one of the exterior of the Town Talk Diner in Minneapolis, Minnesota. Regrettably, on May 28, 2020, the Town Talk Diner was damaged by vandalism, and subsequently destroyed by a fire that engulfed the building early on the morning of May 29th due to civil unrest following the death of George Floyd. The restaurant first opened in 1946, closed in 2011 and subsequently re-opened under new ownership in 2014 with French cuisine, then from 2016 until its demise as an American bistro. While this was not known at the time of selecting the image for a typographic model, subsequent research on the diner turned up these facts. The large vintage sign above the entrance was in big, bold Art Deco letters with rows and rows of bulbs for illuminating the name at night. Coffee and Danish JNL, modeled from the image of that sign, is available in both regular and oblique versions. Perhaps, in a way, the type design will serve as a bit of historic recognition for a popular eating spot.

Petale is my new elegant experimental typeface I'd love to present. At the beginning, I was intended to create a bold wide font, I started sketching options and came out with the letter 'M' design first. I thought it may be interesting and had continued developing the style with letters N, O, etc., spending hours on some letters to match the design and my vision. I liked how it looked (especially digits) and added different weighs. And it came out pretty stylish. You may like it to use in magazine designs, posters, websites, packaging, branding, logo, and so on. Petale can grant your work some graceful modern touch with a brutalist-feminine note. Works well with elegant and strict serif fonts. Also try to experiment with script fonts. I used my Stormy Youth font: https://www.myfonts.com/fonts/lomohiber/stormy-youth and Bodoni 72 Smallcaps If you have some issues or questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Petale! Language support: Afrikaans, Albanian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Russian (Русский), Slovak, Slovenian, Spanisch, Swedish, Turkish, Ukrainian (Украинский), Zulu

Introducing Hoax – a pre-worn sans serif with spirit, personality and distinction. This bold and semi-condensed sans serif is inspired by old copy machines and vintage prints. It is lively and eye-catching, ideal for where and when you want to make a lasting impression. Hoax is a celebration of character, a tribute to curiosity. Use this typeface and let everyone know that you mean business. OPENTYPE FEATURES: This font includes over 40 discretionary ligatures of prepositions and common words in English. These OpenType features can be accessed using OpenType friendly applications that allow the use of discretionary ligatures and stylistic sets. MULTILINGUAL SUPPORT: With over 700 glyphs, it has support for more than 150 languages, including Cyrillic script. List of discretionary ligatures: AND, ARE, AT, BY, FOR, EST, FEAT., FROM, IN, IS, OF, ON, OR, OUR, THAN, THAT, THE, TO, WITH, YOUR, CO. Each word is available in both upright and slanted versions. How to use: Activate the discretionary ligatures as you normally do in your OpenType friendly application. When activated, the words are in upright versions. To access the slanted versions, activate the first stylistic set (“Slanted Ligatures”). Happy typing!

I regard Sabio as an evolutionary face. By this I mean that it merges elements of script and Roman design into one elegant whole. The design was 'evolved' somewhere between these two classic approaches. The resulting family of faces makes an excellent display family, but is also clear and legible at small sizes and can be used as a text face with a distinctive flair. Sabio is a wonderfully flexible face that can sit happily alongside artwork that owes its inspiration to any era from the Art Deco onwards. The regular form is gently and subtly oblique, and the glyphs have a slight hint of swash about them. Alternate and perpendicular forms are also offered. The regular, alternate and perpendicular forms are all in turn offered in regular, and bold weights as well as in a condensed form. All in all Sabio is a humanist face with which almost anything can be done offering flair and elegance for almost any project. Whether it's a distinctive way of setting paragraph text, or poster work that's eye catching yet flowing and clearly legible, Sabio offers the answer.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Making your brand visible, interesting and recognizable without having to get in the way of your customer’s experience is hard. It takes a lot of time, money and effort to make a clear brand. And maintaining it through all your customer touchpoints is even harder. Introducing, Marker Makers is a versatile marker font that takes inspiration from the boldness of graffiti and the playfulness of primary colors. It's a joy to use for any design project where you want your audience to pay attention, this is your go-to font and take your next project from good to WOW! Marker Makers comes with more than 400 glyphs, including punctuation, numbers and upper and lower-case letters you’ll have all the tools you need to create invigoratingly unique content. Whether it’s included on posters at trade shows or on the walls of any room in your office, no one will ever think it was boring! A Million Thanks Colllab Studio www.colllabstudio.com

Introducing Moderately, a chunky and friendly typeface that makes a bold statement. This high-impact font is specifically crafted for designers seeking a display typeface with presence, perfect for applications where large, expressive type is a must. The defining features of Moderately include a generous x-height, soft curves, and tight spacing, ensuring a punchy and fresh aesthetic. Moderately is a deliberate departure from your contemporary sans with nary a straight line to see, embracing the organic and dynamic qualities reminiscent of blocky Art Nouveau typefaces, notably inspired by the works of Alfred Roller. While drawing influence from psychedelic / Art Nouveau revival typefaces of the 1960s, Moderately strikes a contemporary balance, delivering a design that is both impactful and approachable. Each glyph in Moderately attempts to maximize its space within the em square, incorporating slim carve outs for counters and apertures. The name "Moderately" adds a touch of irony, as this typeface is anything but plain – it exudes affable confidence and subtle flair. Created with versatility in mind, Moderately offers broad support for Latin-based languages, ensuring its adaptability for a wide range of creative projects.

Introducing "Grosin," a captivating typeface that seamlessly merges the timeless elegance of Art Deco with a modern, condensed form. This font embodies the essence of sophistication, offering a perfect blend of retro aesthetics and contemporary appeal. Grosin's condensed design is a nod to efficiency, allowing it to make a bold statement even in limited space. Its sleek lines and geometric precision capture the essence of Art Deco, evoking the glamour and elegance of a bygone era while maintaining a distinctly modern feel. With Grosin, each character exudes a sense of refined simplicity, making it an ideal choice for conveying a sleek and stylish impression. The font's condensed nature ensures versatility, making it well-suited for a range of applications, from titles and headlines to posters and modern art projects. The beauty of Grosin lies in its ability to transport your designs into a harmonious blend of past and present. Whether you're aiming for a retro-inspired aesthetic or a modern twist on classic design, Grosin stands as a testament to the enduring allure of Art Deco, breathing new life into your creative endeavors. Choose Grosin for a typeface that effortlessly bridges the gap between nostalgia and contemporary chic.

Night Circus is a capitalized display font in a circus theme having unique, interesting designs with big, prominent letter sizes to catch attention. All of its letters are peculiarly designed in bright colors and many decorative circus elements. The power-expressing big, thick letters are perfect to use in power, boldness message-delivering designs. The advantages of Night Circus font, which provides a clipart in line with the theme, are the abilities to produce unique, charming nuances to your designs and to make your products more interesting which increases the products’ attractiveness. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Night Circus fits best for various design projects, such as brandings, headings, magazine covers, quotes, 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.

Mousse Script is based on Glenmoy, a 1932 Stephenson Blake typeface. Glenmoy a prime example of what display typography was in pre-WWII American ad art. It graced the pages of magazines, sold numerous products and services, then simply died out when the typographic trends shifted towards the more personalized, stylized and handwritten types of calligraphy. The current trend in typography is a revivalism that brings all of the distinctive display typography of the 20th century, without chronological discrimination, back in the name of ‘retro’. Who are we to deny the masses what they want? Mousse Script doesn’t just bring Glenmoy back from the ashes of the 20th century. It expands upon the limited metal character set nearly twice over and takes advantage of the latest type technologies. This makes Mousse Script a striking typeface, both functionally and visually. A simple, attractive display font on the surface, Mousse Script is unique in its bold upright calligraphy, something rarely found these days. The OpenType version of Mousse Script combines both the regular and alternate character sets into a single, cross-platform package that takes advantage of the extended typographic features of the OpenType format.

Some typefaces need time to ripen; Burian and Scaglione made the first sketches for Ebony back in 2008, but it took a few years of maturing in a drawer to be developed into a multi-functional type family. While keeping in tune with TypeTogether’s focus on complex typographic structures needed for magazine, newspapers and books —whether printed or digital—, Ebony goes far beyond editorial use and promises great performance in branding and advertising. The range of dark weights with taut and powerful curves can boost any headline, while the lighter styles create an approachable and clean feel in blocks of continuous text. Ebony does not fall short on aiding legibility either; letterforms have a distinct direction of ductus and features like the top serif on ‘l’ help making them clearly distinguishable from each other. It is a type family that cleverly seeks a balance between the openness and legibility of humanist sans serifs and the striking and more regularised character of grotesques. The letter-shapes feature generous counters and open terminals with crisp angles, and daringly grow both in colour and width as the fonts get bolder. Infused with this strength, Ebony also shows a quirky side in some of her shapes; the vertical fractions, the at-symbol, the old-style numbers, … The predominantly slanted style of the italics is broken up in some letterforms, such as ‘a e f l’, that are more in line with a classic cursive appearance. This, together with a forceful italic angle, ensure a change in texture within a block of text, despite sharing the same letter weight and width with the uprights. With 18 styles, tending towards the heavier part of the weight-spectrum, this face has a powerful quality!

Swing to the beat of your message with Zingende, the typeface that oozes sleek and stylish Art Deco vibes. With its razor-sharp points and elegant waistline, Zingende exudes a ritzy tone that’s perfect for capturing attention and making a statement. This isn’t just any typeface, it’s a flashy and sophisticated headliner that demands attention. Zingende is available in six different weights, making it easy to customize and tailor your message for maximum impact. And for those who want to make an even bolder statement, Zingende is also available in a solid, counterless design. Whether you’re creating a poster for a swing dance event or designing a retro-inspired branding package, Zingende is the typeface that will give your project a touch of class and sophistication. So don’t settle for an ordinary typeface—let Zingende take your message to the next level. 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.

URW Geometric Condensed is the matching complement for the URW Geometric. Including 20 additional condensed styles the URW Geometric Condensed is the space-saving alternative in the URW Geometric family. URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric. These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for today’s needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The number sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric is perfectly designed for today’s requirements. Please have a look at the URW Geometric Type Specimen (PDF) for further information.

It started in 2007 with Chennai, the first of a three-part series of sans that I envisioned with slab serif counterparts. Each font would differ from the others in how the stem terminals were expressed. The initial font was extremely well received, and a revitalized and remastered Chennai made its appearance two years later, complete with new weights and new, novel OpenType features. Then came Madurai, a variation of Chennai based on the same core, only without the rounded stems. Chennai’s rounded stems made it distinctive and great for headlines but left it lacking appeal as copy--a problem that Madurai easily solved. And now comes Sangli, the final iteration of my original 2007 vision. Sangli is a happy medium. Like Chennai, it’s great for headlines--but not too distinct for copy. Sangli keeps the same core structure as the other two, but new less sharp forms give this latest font a friendlier look that’s more versatile than the original Chennai and less formal than Madurai. The font includes a whole range of six weights from light to black, along with condensed and extended options as well for a total of 54 fonts. There are plenty of OpenType features, including small caps. Alternates include normalized capitals and lowercase letters that include stems for when you want a more traditional look or when you’re writing copy. Sangli also supports over 70 languages that use the extended Latin script. Use Chennai, Madurai, and their slab serif variants interchangeably with Sangli, too, for even more options in your work. All three complement one another well. So when you need a balanced font that stands boldly on the page and commands your reader’s attention, look within and find your Sangli.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

Introducing Slow Moon - The Retro Display Font with Timeless Elegance Unveil the beauty of bygone eras with Slow Moon, a font that encapsulates the essence of retro design while offering an extensive range of dynamic alternatives and ligatures. With 976 meticulously crafted character glyphs, multilingual support, and PUA Unicode, Slow Moon is the quintessential choice for designers seeking to infuse a touch of nostalgia into their projects. Key Features: Timeless Retro Charm: Slow Moon embodies the spirit of the past, bringing to life the aesthetics of vintage signage and typography. Its classic appeal effortlessly transports your audience back to the golden days of design. Dynamic Alternatives and Ligatures: Slow Moon is not just a font; it’s a design toolkit. With an array of dynamic alternatives and ligatures, you can create eye-catching compositions that seamlessly flow from one character to the next. This feature allows you to achieve a genuinely unique and handcrafted look. 976 Unique Glyphs: Slow Moon’s extensive character set ensures that you’ll have the perfect letterform for any project. From decorative swirls to bold serifs, every character is designed with precision and care. Multilingual Support: In our globalized world, Slow Moon understands the importance of inclusivity. It offers multilingual support, making it versatile for projects spanning multiple languages and regions. PUA Unicode: Slow Moon is equipped with Private Use Area (PUA) Unicode encoding. This feature simplifies the process of accessing alternate characters and ligatures in various design software, enabling smooth integration into your creative workflow. Ideal for a Range of Applications: Slow Moon is the perfect choice for a myriad of design projects. Whether you’re crafting vintage-inspired posters, retro-themed branding, stylish packaging, or captivating web graphics, this font will lend an air of sophistication to your work. Its versatility allows it to effortlessly transition from glamorous and elegant to rugged and bold, depending on your creative vision. Get Creative with Slow Moon: Indulge in the allure of a bygone era and elevate your designs with Slow Moon. Its exquisite blend of retro charm, dynamic alternatives, ligatures, and extensive character set will empower you to create typography that stands the test of time. Whether you’re a seasoned designer or just starting your creative journey, Slow Moon is your trusted partner in delivering unique and unforgettable designs. Don’t wait to embark on a design journey that captures the magic of yesteryears. Choose Slow Moon and let your creativity shine in the soft, enchanting glow of nostalgia.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down. Shout is the first font released with our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Shout has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, a long s instead of the Greek mu and our usual Hand-in-Hand symbol. There are also left and right glyphs of a big mouth ]ing (135/137) and left and right glyphs of an angry man shouting (172/177). Please use Shout with discretion. Folks get tired of being yelled out. After awhile, they stop listening. Shout ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 355 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt. 3. Added 266 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised hyphen, dashes & math operators. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

Welcome to Jillsville, the charming slab-serif typeface that will give your message a delicate and sympathetic tone. With its lovely curls and unusual design, Jillsville stands out from the crowd and offers a contemporary and unique touch to your design. One of the most striking features of Jillsville is its slab-serif design, which adds a touch of boldness and solidity to your text while still maintaining a delicate touch. Whether you’re creating a logo, a title, or a piece of body text, Jillsville’s distinct and eye-catching design will help your message stand out. In addition to its elegant design, Jillsville also offers a wide range of symbols and numerals, including mathematical symbols, fractions, numeric ordinals, and monetary symbols. This makes it a versatile and practical choice for a variety of design projects. With seven weights and italics to choose from, Jillsville offers plenty of flexibility and options for your design. Whether you’re looking for a bold and impactful headline or a softer and more delicate body text, Jillsville has the perfect weight and style for your needs. Overall, Jillsville is a must-have slab-serif for any designer looking for a contemporary and unique typeface. Its charming design and practical features make it an ideal choice for a variety of design projects, from branding and marketing to editorial and web design. Try Jillsville today and see how it can take your designs to the next level. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing designers to produce, bubbly, high-spirited masterpieces, where geometric excess and calligraphic inventions melted joyfully. Freitag is Cosimo Lorenzo Pancini's homage to this era and its typography. His starting point was the design of a heavy sans serif with humanist condensed proportions, flared stems and reverse contrast, that generated both the main family, and a variant display subfamily. The main typeface family slowly builds the tension and design exuberance along the weight axis - a bit like our desire for the weekend increases during the week. In Light and Medium weights the font shows a more controlled, medium-contrast design, tightly spaced for maximum display effect. The Book weight follows the same design but uses a more relaxed letter spacing to allow usage in smaller sizes and short body copy. As weight increases in the Bold weight the style becomes more expressive, with a visible reverse contrast building up and culminating in the Heavy weight with his clearly visible "bell bottoms" feel. In the display sub-family the design is pushed further by introducing variant letterforms that have a stronger connection to calligraphy and lettering. Also, the weight range becomes a optical one, with weights marked as Medium, Large, XLarge, as bringing the contrast and the boldness to the extreme creates smaller counterspaces that require bigger usage sizes. Another important addition of the display sub-family is the connected italics that sport swash capitals and cursive letterforms, developed with logo design and ultra-expressive editorial design in mind. To balance the extreme contrast in the XL weight, contrast of punctuation is reduced, creating a rich, highly-dynamic texture wherever diacritics and marks are used in the text. The full family includes 16 styles + 4 variable fonts, allowing full control of the design over its tree-hugging design space. All 20 fonts share an extended latin charset with open type features including case sensitive forms, single and double story variants and alternate glyphs. According to its creator, "Freitag is the typeface that sounds like an imaginary Woodstock where on the stage with Jimi Hendrix with Novarese, Motter, Excoffon and Benguiat playing onstage with Jimi Hendrix". Jeepers creepers!

The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

Addictive font duo is a sophisticated & contemporary, hand-made script font. With personal charms and character. allow you to create flowing hand-lettering.Addictive fonts are designed to be a winning combination. this font will perfect for many different project, Designed to feel comfortable with variety projects including advertising, campaigns, poster design, wedding, branding, logo, fashion, magazines, social media. Here is what you get in the Addictive package: 1. Addictive • A hand-made High quality script font containing upper & lowercase characters, numerals and a large range of punctuation + OpenType features (Ligatures&Alternates). 2. Addictive Caps • A bold hand-made brush font containing upper & lowercase characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Addictive Script Both fonts Include multilingual support: English, Italian, French, Polish, German, Swedish, Spanish, Danish, Dutch, Portuguese, Norwegian, Malaya, Indonesian, Finnish, Filipino. Malaya. TTF and OTF files are included for both fonts. Access all OpenType features alternates&Ligatures, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, Microsoft word and Etc.. Thanks for looking If you have any questions about license or anything else,feel free to leave a comment or send me a message. I'm always more than happy to help:) hope you enjoy! Michael