Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione

American type designer Michael Abbink created this serif FontFont between 2009 and 2010. The family has 12 weights, ranging from Regular to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries as well as small text. FF Milo Serif provides advanced typographical support with features such as swashes, ligatures, small capitals, alternate characters, case-sensitive forms, and fractions. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. FF Milo Serif received several awards: the ISTD award in 2011 and the Letter.2 award in 2011. This FontFont is a member of the FF Milo super family, which also includes FF Milo.

A pixelated typeface with asymmetrical serifs intended to depict emojis in coarse mosaic shapes and represented in two styles that perfectly complement each other – Mono (casual font) and Mosaic (color font). The main font feature is a large set of pictograms, which are activated using the Stylistic Set and typed right in a text with a keywords like :smile: :happy: :sad: :pear: :rose: :horse: :bike: :house: and so on. Read more about Depicto font family concept, features, pictograms, color font, emoji skin tone, how to use it, and the applications support: https://michaelrafailyk.com/depicto See the complete list of 600+ pictograms: https://michaelrafailyk.com/typeface/specimen/Depicto.pdf Scripts: Latin, Greek, Cyrillic, Hebrew Languages: 480+ The promo image “Serpant Mosaics” used a photo of Nick Verlice from Pexels

CHARACTERISTICS The fresh and unique character of the typeface are awesome BOOM! The letter-forms are associated urban graffiti tags and pieces. Many Dingbat symbols like microphone, tape deck, ghetto blaster, vinyl, etc. make this font really fresh n HOT! APPLICATION AREA The handwritten, sloppy, square, shaky and fresh urban script font »Tag Hand Graffiti Trash« BANG! would look good at display size for headlines in magazines or websites, movie posters, music covers artworks or music webbanner. TECHNICAL SPECIFICATIONS Headline Font | Display Font | Fancy Font – Tag Hand Graffiti Trash OpenType Font with 393 glyphs - alternative letters and ligatures like Mr, Mrs, Ltd, Co, Dr, Mc, Dj etc. (with accents & €) & 2 styles (regular & fat) + dingbats like diamant, tape deck, microphone, vinyl etc.

American type designer Michael Abbink created this sans FontFont in 2001. The family has 9 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design. FF Kievit provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super—and subscript characters. It comes with a complete range of figure set options—oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. FF Kievit received several awards: the Bukva:raz award in 2001 and the ISTD award in 2001.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Jeko is an exciting geometric typeface with contemporary touches. It’s born from strong elementary shapes, with clean circles interwoven with modern cuts and sharp edges. It has a distinctive voice, retaining the simplicity and elegance of classic geometric typefaces with a fresh, stylish rework. It's bold in personality and fills the space without shouting, appearing refined and confident. It’s high X-height and strong capitals sustain a large amount of visibility across all weights, and have been optically corrected for even better legibility. It has been designed as a variable font to give lots of options and access to unique type looks; however it also includes nine weights to give just as much access to creativity to those without access to variable supporting software. Aventa’s matching italics sloped at a lively 11º help give it a full range of expressions. Its distinctive character and many variables make it a versatile, stylish workhorse, great for interfaces and design. Jeko is a re-designed form of the Aventa Typeface. Each font contains just over 570 glyphs with full Western, Central, Eastern European and Cyrillic language support. Check out Larken which is a great pair for Jeko.

Pontifica is based on ‘protogothic’ calligraphy, a style developed at the monastery of St. Gall in the 12th century to replace Carolingian minuscule with a more efficient and compact system of lettering. Ultimately it became the progenitor of the gothic lettering styles of the late Medieval period. Also available to go with this font is a special swash version with a very different style, but compatible overall appearance.

Incus is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Incus family consists of 6 fonts, divided into 2 subgroups (according to the type of style - St, Cut), and have the 3 types of thickness in each subgroup. Incus fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing

Lazycat is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Lazycat family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Rg), and have the 4 types of thickness in each subgroup. Lazycat fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

The “Kiez“ is an old school style font designed by Elena Albertoni in 2016. Inspired by shop and bar signage of the sixties and seventies, which can still be found today in the so called “Kiez“ in Hamburg St. Pauli or in one or another “Kiez“ in Berlin, which means neighborhood here. It also has a cinematic touch, again: think of the sixties and seventies or your favorite b-movie.

Lokko is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Extended symbols and other. The Lokko family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Cut), and have the 4 types of thickness in each subgroup. Lokko fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

The display typeface that is based on the shapes of traditional Chinese hieroglyphic characters. Designing the font for imitations in the Chinese style the author nevertheless demonstrates serious attitude and thoroughness using the table of keys of the regular Kaishu script. As a result the font looks stylistically authentic and genuine. The typeface was designed by Aleksandra Egorova, the young type designer from St. Petersburg, and released by ParaType in 2008 .

Urbancat is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Urbancat family consists of 8 fonts, divided into 4 subgroups (according to the type of style - St, Rg), and have the 4 types of thickness in each subgroup. Urbancat fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

Fozzy is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. Fozzy family consists of 9 fonts, divided into 3 subgroups (according to the type of style - St, Rg, Op), and have the 3 types of thickness in each subgroup. Fozzy fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

Parus is a impacted modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Parus family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Obl), and have the 4 types of thickness in each subgroup. Parus fonts will be useful in a word processing, developing a brand, creating posters and other graphic products.

BB Manual Mono™ (Pro) visualizes the work of painters: Craftsmanship, precision, professionalism and their tools. The special features of the Font emphasize the work process. ● Flow: visible process ● Alignment: contextual monoline ● Accuracy: individual modularity ● 5 Variants (TX (Text), IT (Italic), ST (Standard), HL (Headline), CR (Cover) ● 40 OT-Features/Style ● 60 Styles ● 100 Stylistic-Sets (20/Variant) ● 122 Languages Support (Latin, Greek, Cyrillic) ● 86,100 Glyphs (1,435/Style)

Lehmann Egyptian is a font of three styles, based on the pre-revolutionary hand set fonts by Berthold and Lehmann type foundries in St. Petersburg. Designed mainly for display typography, the font works well in small texts too. There's also a quite useful bonus — a stylistic set of historical forms. Lehmann Egyptian was designed by Albert Kapitonov in cooperation with Dmitry Kirsanov and released by ParaType in 2018.

Sign Production JNL somewhat resembles Sign Kit JNL but there are some noticeable differences. The letters and numbers in Sign Production JNL are bolder, wider and have some slightly different character shapes. The common theme is that both fonts were designed from die-cut letters and numbers found in the Webway Sign Cabinet, manufactured by the Holes-Webway Company of St. Cloud, Minnesota until its demise in the 1980s.

Hisham is a modern Arabic headline face, designed by the Lebanese calligrapher, Ahmed Maged, originally for Linotype-Hell Ltd. The Hisham design has a distinctive style with a strong baseline, relieved by strategic cut-away effects, which is counterbalanced by the bold vertical strokes and some strong diagonals. This somewhat compact font adds a new style to the range of Linotype’s Arabic headline fonts. This OpenType font includes Latin glyphs from Optima Extra Black, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Hisham incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Montecatini takes its cues from the elegant Stile Liberty travel posters of Italy in the early 1900s. In its successful first release by Louise Fili Ltd in 2017, the typeface introduced distinctive ligatures typical of the time when Art Nouveau emerged as a worldwide phenomenon. Now Montecatini has been expanded into 24 alluring styles, spanning 6 weights and 4 widths. With the addition of these new styles, Montecatini has a dynamic capacity for comprehensive use and pairing. Everything looks better in Montecatini, from book jackets to monograms to packaging and logos—and the wide selection of ligatures, weights, and widths makes copyfitting a delight. Montecatini Pro’s ligatures are setup as contextual alternates. If you would like to try out Montecatini Pro’s ligatures or learn more about the font, please visit: https://www.louisefili.com/montecatini-pro

ZT Kloftel has three variants of handwriting with different auras and also gets one variant of icons with a sketch style, this helps add depth to the art of handwriting. ZT Kloftel Stalle is a well-matched and Beautiful Style with natural lines, with a very large difference between uppercase and lowercase letters, and can produce a very natural writing style. ZT Kloftel Wortugo with a wider groove, with a messier concept, it also has its own uniqueness, such as children's writing which is suitable for branding explanations, or graffiti explaining your designs. ZT Kloftel Zlamora with a small and chubby style exudes a relaxed aura, perfect for vintage branding or your sad sunset caption I hope you have fun using ZT Klotin Thanks for using this font ~ Khaiuns X zelowtype

Scriptissimo is, as the name says, very much of a script! It is in the best American tradition. A script that could have served for writing the Constitution with, if only they would have had computers at that time. Scriptissimo consists of three different scripts that are meant to be used together. One is the script with the more or less plain characters. Two is the version for characters to start a word with. Three is the cut that has the characters for the end of a word. Ligatures is used for, well, ligatures and some glyphs like Ltd., GmbH, and so on. Scriptissimo is a very elegant and versatile script. It can be used for chocolate bars as well as stock certificates. I really enjoyed designing it. Yours scriptissimo, Gert Wiescher

STF Eclectic Web is the ultimate web design dingbat tool - with 80 icons designed for creating e-commerce, navigation, and interface designs. Use it as a starting point in your favorite vector program, or use the icons as is - they are optimized for sizes down to 20 point and anti-alias beautifully in all of the major applications (any smaller than that and you're on your own…) Shopping carts, directional arrows, buttons galore! It's like a pinata in font format, surprises for everyone! This font includes: a new button, order, buy, and close buttons, home, security, email, search, and a host of other icons and images to make designing your next website a breeze!. Most of the icons are shown Available in Mac and PC formats, in TrueType and Postscript formats. License it today!

Lunatica Display is a single weight, all capitals, slanted typeface ideal for titles and headlines due to its strong presence. It is constructed in a very modular fashion, stepping away from some typographic conventions, while keeping the form of its characters familiar and easily recognisable. This typeface is heavily inspired on the aesthetics of the space related sci-fi movie genre, specifically on the movie Moon (2009), directed by Duncan Jones and starring Sam Rockwell, from where it also picks up the inspiration for the name “Lunatica”. It was first designed as a branding exercise, thought to be the official typeface of Lunar Industries Ltd. — the company through wich the movie exists and unfolds. You can use Lunatica Display in more conventional contexts like branding but also in more experimental and futuristic-looking ways.

Gaffer is a simple little font! The backward slant, large x-height and short ascenders/descenders give the font a casual handwritten look. I’ve included some extra ligatures (ffi, ffl, ff, ks, tt, tf, ft, st) which will substitute automatically when used with OpenType savvy applications. Use Gaffer for projects where you need a casual look: on the web, scrapbooking, greeting cards, emails or a letter to a friend. Where would *you* use Gaffer?

Yaro is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Extended symbols and other. The Yaro family consists of 20 fonts, divided into 4 subgroups (according to the type of style - St, Op, Rg, Cut, Bl), and have the 4 types of thickness in each subgroup. Yaro fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

Pietra is a Baroque-inspired, all-majuscule type design, based on the massive five-foot tall mosaic lettering high above the floor in St. Peters in Rome. The font includes two sets of capitals: full sized, proportioned on the actual lettering; and small capitals, scaled vertically to capture the foreshortened effect of viewing the lettering from the floor. It was designed by Garrett Boge in 1996. Pietra is part of the LetterPerfect Baroque Set.

21 Cent - not Century or Clarendon. This is an original font family designed from scratch. 21 Cent is named after a magical coin that brings good luck. And well, in honor of the 21st century, of course. 21 cent family is used in the almanac of the State Hermitage Museum, St. Petersburg, Russia. All members of 21 Cent family include the expanded character set of with support of Cyrillics, Central European and Baltic languages.

DESCRIPTION Now my feelings about didones are more than evident. After some years of roman-abstinence (1) I present Heroe, an interesting combination of elegance and sensuality. Heroe, spanish for hero, takes some aspects of roman typefaces to the extreme like my main inspiration, the great Herb Lubalin, did in the majority of his works: Thins turned into hairlines, altered proportions (for display purposes), unique ball terminals, poetic curves and a graceful way of placing them together on a layout. Its classy style makes the font perfect for a wide range of uses. Imagine Heroe Inline (my favorite) dancing over a bottle of perfume; printed on the cover of a fashion magazine; lighting wedding invitations up. Its partner, Heroe Monoline, may help you to make more elaborated pieces of design. Just combine it with Heroe, or Heroe Inline and see how perfect they match. TECHNICAL The difference between Pro and Std styles is the quantity of glyphs. While Pro styles have all the decorative characters available, Standard ones have only the basic set of them. Heroe Monoline Big and Heroe Monoline Small were made for better printing purposes. If you need to print the font in small sizes, then your choice should be Small. Heroe Monoline has the same alternates (and open-type code) as Heroe Pro and Inline, plus some decorative ligatures. NOTES (1) After fonts like Breathe , Aire , and the award winning Reina , I started experimenting with scripts a little more. Erotica , Bird Script and Dream Script are examples of that.

Arzachel is a humanistic sanserif with a big x-height and a specific organic look. Its design is scientifically sharp and efficient in small type sizes as well as rugged and dramatic in headlines. Arzachel’s essential feeling comes from several features: all the letters are slightly sloped, stem terminations are flared at the top, and the terminals in letters a, c, e, f… are widening with the inside parts completely flat. The stroke contrast is low in the regular weight while it increases in the black; finally the capitals have an inscriptional flavor. Despite being a sanserif (thus a product of recent typography) Arzachel’s roots stretch back to the Renaissance tradition: Olocco took inspiration from some of the early and rather weird types cut in Venice in the 15th century. Arzachel was conceived during Olocco’s MA in Reading to provide a companion for his Zenon for use in small type sizes. But instead of expanding the Zenon family with optical sizes, the designer decided on a sans with its own personality rather than a sanserif version of Zenon with chopped-off serifs.

This family was inspired by the beautiful roman font used by Aldus Manutius in Venice (1499) to print for the first time Hypnerotomachia Poliphili..., the well known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The present font contains all of the specific latin abbreviations and other ligatures used in the original. The Italic style, carved by Francesco Colonna, the so called "Aldine" style, was inspired from various documents, all printed with this first Italic font. We offer the complete set of ligatures (about 60) we have been able to find, contained in the original font. In the two styles, we have made differences between I and J, V and U, to make easier a modern use. Added are the accented characters and a few others not in use in this early period of printing. The Italic style may be used as a complement to our 1470 Jenson Latin. The font contains all characters for West European (including Celtic), Baltic, East and Central European and Turkish language.

Generisch - a german equivalent of generic - sans serif typeface has gain its own place among designers and earn such popularity due to its "simple" design. Generisch is influenced by early grotesk typefaces from early 1900's when sans was starting to get popular and used as a body type. Some old ligatures such as ch ck and ng are present in generisch (not the ct and st tho), old style numeral for better typesetting experience and more.

A photo of the now closed [circa-1953] Lowell Municipal Pool (at 1601 N. 28th St.) in Boise, Idaho shows the words “Municipal Pool” formed into the cement of the entrance to the above-ground swimming facility. Both the lettering and building entrance designs harken back to the Art Deco era and the sign features stencil-like characters. This inspired a typeface aptly named Municipal Pool JNL, and is available in both regular and oblique versions.

A bit of Victoriana whimsy from this set of two fonts is heavily inspired by a variety of 19th Century faces without being a direct revival of any one in particular. Undulating curves, swirly terminals and bifurcated semi-serifs give these faces plenty of character. Both fonts include f ligatures and ct/st ligatures. Clementine Curly includes a full set of alternate curly caps as opentype alternates making it essentially a bonus font within a font!