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

Bardamu is a variable slab serif font family designed by Eugene Tantsurin and Anna Remm, and released by Groteskly Yours Studio. Bardamu is a type family that is open to interpretation and experimentation, yet this ambiguity does little to hide its inherent friendliness and good vides. Bardamu can easily be used in a variety of projects and feel at home both in graphic design, branding, web design or editorial design. Thanks to its unique letterforms and eye-catching design choices, it can be that final touch that makes your brand pop! One of the standout qualities of Bardamu is its remarkable versatility. Bardamu comes in 25 styles, allowing users to choose a style that best fits their needs. In addition to that, it offers a wide range of styles, from sleek backward-slanted italics at -20° to elegant upright styles, as well as regular 20° italics. For static fonts, there are two extra subfamilies available (10° Half Italic and 10° Half Reverse) that can be used for creating more complex hierarchy in any text. With a total of 25 static fonts and 1 Variable font, Bardamu is the perfect workhorse display slab serif with unlimited typesetting capabilities. Each font in the Bardamu family boasts an extensive 700+ character set, encompassing all major Latin-based languages, punctuation marks, symbols, and even supplementary characters. Bardamu takes flexibility to a whole new level with its incredible OpenType features that further enhance its versatility. With features such as Case-Sensitive Punctuation, Stylistic Alternates, Sub- and Superscript, Tabular Figures, and Localised Forms, you can fine-tune every detail of your design to perfection. Moreover, the multiple stylistic sets available in Bardamu allow you to switch between various versions of the same glyph effortlessly. Bardamu type family includes 25 static styles as well as a variable font. All styles can be purchased separately or as a full family package. Two styles can be downloaded free of charge. If you'd like to explore Bardamu further, we also offer free trials upon request.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Script is a complementary typeface to ITC Ellipse Neo, designed a very legible handwriting style. ITC Ellipse Script is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Script offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: Nov 1, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. ITC Ellipse Script est une police complémentaire à ITC Ellipse Neo, conçue dans un style d'écriture très lisible. ITC Ellipse Script est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Script offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Yolk is an Eggcentric Sans Serif Typeface consisting of nine weights in both roman and italic. Essentially, this is a geometric sans typeface that has been inspired by the shape and proportions of an egg. With its bottom-heavy glyphs, Yolk has an unusual personality – it’s not too awkward to be off-putting, and it’s not too uniform to be associated with the myriad of generic geometric sans fonts that are available. Yolk has a distinctive presence in its upright form, while the italics exude a more flamboyant nature. When combined, your typographic results will be pleasing and perhaps a little quirky too. This 18-font type family achieves a good balance of personality, versatility, and usability. Small Caps are available at the click of a button, then add Stylistic Set 1 to achieve Petite Caps. The petite caps harmonise with the regular lowercase forms, so that you can create unicase-style typography too. All Latin-based languages are covered within the 1000+ glyphs of each Yolk font. Key Features: • 18 font family – 9 weights in Roman and Italic • Small Caps, Petite Caps, with Proportional, Old Style, and Small Cap figures, plus Fractions, Numerators, Denominators, Superiors, and Inferiors • Full European character set (Latin Extended) • 1,000+ glyphs per font.

At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and finished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of openwork iron products or the bent iron of the decorative little railings in a Prague park. The so-called "hidden" and, furthermore, curved serifs complete the inconspicuous "charm" of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a magazine, a brochure or an annual report, in short whenever illustrations dominate. It is not by accident that the basic design of "Ideal Gothic" has such a light tonal value - it competes neither with fine pencil sketches, nor with sentimental landscapes. It is very suitable for business cards and corporate identity graphics.

Blank Manuscript allows you to produce sophisticated musical scoresheets even on basic Word Processors - anything from simple plain staves to complex full-page orchestral scores of your own design, to write in the notation yourself. The basic stuff is really easy and straightforward, but there's some quite advanced things you can do as well. So Copy and Save these Instructions. • The main stuff is simple and tends to follow the initial letter. Treble, Bass and Alto clefs are on upper case T B A (there are more clefs, below). The 5 Lines for the clefs are on L or l. • A small v will give a small vertical line (like a bar line) and a Big U will give a Big Upright - these can start or end a line or piece. • Time Signatures - type the following letters: Think of W for Waltz and it's easy to remember that 3/4 time is on W. Then from that they go up or down together like this: V=2/4 W=3/4 X=4/4 Y=5/4 Z=6/4 Compound Times are on H I J K like this: H=3/8 I=6/8 J=9/8 K=12/8 Common Time and Cut Common symbols can be found on semi-colon and colon respectively (all begin with Co- ). 2/2 3/2 are on lower case a and b, 7/4 and 7/8 are on lower case c and d, 5/8 is on small k (think POL-k-A) • Flat signs are on the numbers. Flat signs on LINES 1 to 5 are on numbers 1 to 5. Flat signs on SPACES 1 to 5 are on numbers 6 to 0 (space 1 being above line 1, space 5 being above the top line of the stave). Sharp signs are on the letters BELOW the long-row numbers. Which is q w e r t for the sharp signs on Lines 1 to 5, and y u i o p for sharp signs on spaces 1 to 5. Doing it this way means it works the same for all clefs, whether Treble, Bass, Alto, Tenor or any other. Sharp and Flat Signs always go in this order, depending on how many sharps or flats your key signature requires: Treble Clef Sharps t i p r u o e Flats 3 9 7 4 2 8 6 Bass Clef Sharps r u o e t i w Flats 2 8 6 3 1 7 = Alto Clef Sharps o e t i w r u Flats 7 4 2 8 6 3 1 • Guitar Chord Boxes are on G and g (G for Guitar) Upper Case G has a thick line across the top Lower case g has an open top, for chords up the fretboard TAB symbols are available: Six-string Tablature is on s & S for Six. Four-string Tablature is on f & F for Four. (Lower case has the "TAB" symbol on it, Upper Case has just the lines to continue.) Five-string tablature, is on lower case "j" (as in BAN-j-O) and of course L or l will continue the 5 lines. •RARE CLEF SIGNS including Tenor Clef, are on various punctuation marks, i.e. dollar, percent, circumflex, ampersand & asterisk, above the numbers 4 to 8. NOTE: The important symbols were kept on the letter and number keys, which are fairly standard all over, but some of the less important symbols are on various punctuation keys, which in different countries are not the same as on my keyboard. If it comes out wrong on your system, all I can say is it's right on the systems we've tried, and they'll be in here somewhere, probably on a different key. CLOSING THE ENDS OF THE LINES and BAR-LINES is done with the 3 varieties of brackets - brackets, brace and parentheses - Left/Right for the Left/Right end of the line. Parentheses L/R () which are above 9, 0 give a clef with a small vertical upright (the same as a bar line). Brace L/R and Brackets L/R (both on the 2 keys to the right of P on my keyboard) will close off a staff line with tall upright bars. Brace gives a double upright - one thick, one thin. Brackets give a single tall upright. A Big Upright is on Big U, (Big U for Big Upright) and a small vertical line is on small v (small v for small vertical). The Big Upright is the maximum height, and the small vertical is exactly the same height as a stave. And there's a tall upright Bar, on Bar (which is to the left of z on my keyboard, with Shift,) which is the same height as the bar on upper case U but twice as broad. • There's a staff intended for writing melodies, which is a little bit higher up than an ordinary treble clef giving a space underneath to put lyrics in - on m and M for Melody line. Lower case has the Treble Clef on, Upper case M has just the higher-up staff lines with no clef. (Use mMMMMMMM etc.) However this clef will be in the wrong place to put in sharp and flat signs, key signatures and so on, so if you use this clef you'll have to write the sharps, flats and key signature yourself. There's also a clef that's smaller (less tall) than the ordinary clef, but with the same horizontal spacing so it will align with other standard-sized clefs - on slash (a plain clef) and backslash (with a Treble Clef). • There are some large brackets for enclosing groups of staves, such as you'd use on large orchestral scores, on Upper Case N O P Q R, which can aid clarity. N and O on the left, Q and R on the right. P is a Perpendicular line to be used on both sides to increase the height of the enclosure, in this way but with the staff lines in between: N Q P P P P P P O R OTHERS —————————————— • Repeat marks are on comma (left) and period/full stop (right). • Hyphen is left as a sort of hyphen - it's a thin line like a single staff line, with the same horizontal spacing as ordinary staff lines - in case you want to draw a line across for a Percussion Instrument, or a Title or Lyric Line. • Space is a Space, but with HALF the width or horizontal spacing as ordinary staff lines, so 2 space symbols will be the same width as a clef symbol or line. • Grave (to the left of 1 on the long row, or hold down Alt and type 0096 then let go) gives a staff line that is one eighth the width of an ordinary staff line. • If you want manuscript in a clef and key which requires a flat or sharp sign in the space underneath the 5 lines, they’re on = equals and + plus . SYMBOLS • Many of these symbols will only be useful if you have worked out in advance which bars will need them, but they are here in case you've done that and wish to include them. • Symbols for p and f (piano and forte) are on 'less than' and 'greater than' < > (above comma and full stop) and m for mezzo is on Question, next to them. They can be combined to make mp, mf, ff, pp, etc. These signs -- and other signs and symbols like Pedal Sign, Coda Sign and so on -- can be found on various punctuation mark keys, including above 1, 2, 3 in the long row, and others around the keyboard. There's a sort of logic to their layout, but in different countries the keys are likely to give different results to what is stated here, so it's probably best to just try the punctuation and see if there's any you might want to use. (But on my keyboard a Coda sign is on circumflex - because of the visual similarity. Pedal sign is on underscore. A "Sign" symbol is on exclamation mark.) They were only included in case you really need them to be printed rather than handwritten. • However, a Copyright symbol is deemed necessary, and also included are a "Registered" symbol and a TradeMark symbol. They are found in the conventional places, and can be accessed by holding down ALT and typing 0169, 0174 or 0153 respectively in the numberpad section and letting go. • Staff lines with arco and pizz. above are on capital C and D respectively ---C for ar-C-o. • An empty circle above a staff line (to indicate sections by writing letters A, B, C or 1,2,3 inside for rehearsal marks) is on n. The actual signs for an A, B, C and D in a circle above the staff line can be produced by holding down ALT and typing 0188, 0189, 0190 and 0191 respectively and letting go. • The word "Page", for indicating page numbers, is on the numbersign key. • The two quotes keys, (quote single and quote double) have symbols representing "Tempo is", and "play as triplets", respectively. • INSTRUMENT NAMES There's a whole lot of Instrument Names built in (over a hundred) which can be printed out above the clef, and you do it like this. Hold down Alt and type in the given number in the numberpad section, then let go. For Piccolo it's 0130, for Flute it's 0131, Cornet is on 0154, Violin is on 0193, and the numbers go up to over 0250, it's a fairly complete set. There's also a blank which is used to align un-named clefs on 0096. Put them at the very beginning of the line for the best results. Here they are: WOODWIND Piccolo 0130 Flute 0131 Oboe 0132 Clarinet 0133 Eng Horn 0134 Bassoon 0135 Soprano Sax 0137 Alto Sax 0138 Tenor Sax 0139 Baritone Sax 0140 Saxophone 0142 Contrabassoon 0145 Recorder 0146 Alto Flute 0147 Bass Flute 0148 Oboe d'Amore 0149 Cor anglais 0152 Pipes 0241 Whistle 0242 BRASS Cornet 0154 Trumpet 0155 Flugelhorn 0156 Trombone 0158 Euphonium 0159 Tuba 0161 French Horn 0162 Horn 0163 Tenor Trombone 0164 Bass Trombone 0165 Alto Trombone 0166 Piccolo Cornet 0167 Piccolo Trumpet 0168 Bass Trumpet 0170 Bass Tuba 0171 Brass 0172 VOICES Vocal 0175 Melody 0176 Solo 0177 Harmony 0178 Soprano 0179 Alto 0180 Tenor 0181 Baritone 0182 Treble 0183 Bass 0197 (see also PLUCKED STRINGS) Descant 0184 Mezzo Soprano 0185 Contralto 0186 Counter Tenor 0187 Lead 0206 BOWED STRINGS Strings 0192 Violin 0193 Viola 0194 Cello 0195 Contrabass 0196 Bass 0197 Double Bass 0198 Violoncello 0199 Violin 1 0200 Violin 2 0201 Fiddle 0252 PLUCKED STRINGS Harp 0202 Guitar 0203 Ac. Gtr 0204 El. Gtr 0205 Lead 0206 Bass 0197 Ac. Bass 0207 El. Bass 0208 Slide Gtr 0209 Mandolin 0210 Banjo 0211 Ukelele 0212 Zither 0213 Sitar 0214 Lute 0215 Pedal Steel 0216 Nylon Gtr. 0238 Koto 0239 Fretless 0244 KEYBOARDS + ORGAN Piano 0217 El. Piano 0218 Organ 0219 El. Organ 0220 Harpsichord 0221 Celesta 0222 Accordion 0223 Clavinet 0224 Harmonium 0225 Synth 0226 Synth Bass 0227 Keyboards 0228 Sampler 0249 PERCUSSION and TUNED PERCUSSION Percussion 0229 Drums 0230 Vibes 0231 Marimba 0232 Glockenspiel 0233 Xylophone 0234 Bass marimba 0235 Tubular Bells 0236 Steel Drums 0237 Kalimba 0240 OTHERS Harmonica 0246 Mouth Organ 0247 FX 0251 Intro 0243 Verse 0245 Refrain 0248 Chorus 0250 un-named 0096 (this is a small spacer stave for aligning clefs without a name) ALSO copyright 0169 registered 0174 TradeMark 0153 Rehearsal marks 0188-0191 (giving A, B, C, D in a circle, an empty circle is on n ) Clef signs for Treble Bass Alto without any staff lines 0253-0255 An Alphabetic List of all signs: a 2/2 time b 3/2 time c 7/4 time d 7/8 time e sharp sign, centre line f Tab sign for 4-string tab g Guitar Chord Box, no nut h half-width stave I sharp sign, third space up j Tab sign for 5-string tab k 5/8 time l Lines - 5 horizontal lines for a stave m Melody Clef - a standard clef but placed higher up, with Treble sign n Stave with an empty circle above o sharp sign, fourth space up p sharp sign, space above stave q sharp sign, bottom line r sharp sign, fourth line up s Tab sign for 6-string tab t sharp sign, top line (fifth line up) u sharp sign, second space up v vertical line (bar-line) w sharp sign, second line up x Fretboard, four strings y sharp sign, first space up z Fretboard, five strings A Alto Clef B Bass Clef C “arco” above stave D “pizz.” above stave E Double Vertical Lines F Four Horizontal lines (for 4-string tab) G Guitar Chord Box with nut H 3/8 time I 6/8 time J 9/8 time K 12/8 time L Lines - 5 horizontal lines for a stave M Melody Clef - a standard clef but placed higher up, plain N Bounding Line for grouping clefs - top left O Bounding Line for grouping clefs - bottom left P Bounding Line for grouping clefs - Perpendicular Q Bounding Line for grouping clefs - top right R Bounding Line for grouping clefs - bottom right S Six Horizontal lines (for 6-string tab) T Treble Clef U tall, thin Upright line V 2/4 time W 3 / 4 time X 4/4 time Y 5/4 time Z 6/4 time 1 flat sign, first line up (the lowest line) 2 flat sign, second line up 3 flat sign, third line up 4 flat sign, fourth line up 5 flat sign, fifth line up (the top line) 6 flat sign, first space up (the lowest space) 7 flat sign, second space up 8 flat sign, third space up 9 flat sign, fourth space up 0 flat sign, space above stave

A personalized cursive written with the pointed brush The strange name of this font means nothing other than ”brush,“ but only the Dutch understand it. The typeface is spirited, amusing and flashy. I made the handwritten original of DeBorstel Brush quickly and without interruption with a pointed brush. In the capitals, DeBorstel Brush appears to be almost too balanced for handwriting. In contrast, the lower case letters are intentionally very individual and uneven. A bit more life is added to the typeface with ligatures activated which are constructed with alternative letter forms — and as a result, a number of problematic letter-combinations are improved. And if this typeface is still not lively enough for you, the additional alternative character forms a e g i j l n o s t u z are available with the Open Type-Function ”Discretional Ligatures“. DeBorstel Brush is suitable for all European languages. It includes ”Unicode Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too.

Edelgotisch is a bold Jugendstil design that shows its strong blackletter roots. This typeface, along with a set of initial letters, was released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserie (later Klingspor) during the same period. One suspects they may have been in direct competition. The decorative devises of the initial letters for Edelgotisch have a simpler, bolder line than for Eckmann. In the initial letter set, the ligatures aesc (AE) and ethel (OE) were generated by embedding the ‘A’ and ‘O’ respectively inside the upper left corner of the ‘E.’ The accented caps were given similar treatment, with the exception of the cedilla. Regarding the I-diaeresis, we considered rotating the accent ninety degrees to avoid and possible misconstruction. On further reflection however, we realized it was silly and unnecessary. No one would look at the accented letterform and see anything but what it is. We have also included four decorative ornaments and a frame with each font.

Alone Together Script is a tattoo style typeface created and inspired during quarantine times. It is a variable font with size-variable swashes and OpenType features such as Stylistic Alternates for lowercase letters as well as some Contextual replacements for Final Forms of a c d e f h k l m n o q r t u v w x z and entrance stroke versions for r s and z. As for extra swashes hyphen (-) and underscore (_) have also 2 alternates. There is a font presentation video on youtube OpenType guide is also available for download here This font is a contribution to Covid relief funds and individuals who are in need: 50% of sales goes to this kind of charities. There is a challenge on social media where you can submit your artwork featuring this font with a hashtag #alonetogetherfont at @alonetogetherfont on instagram or facebook! Special thanks to the Photography and Music that is exclusive to this font : Empty streets of New York by Kelly Lockett @kellylockk "Time" soundtrack by Zoltan Valter (STU Recordings) @sturecordings sturecordings.ch

Treatise was born in a notebook at the back of a boring lecture on immunology with the simple thought of “How can I make a serif more fun?” When writing a scientific treatise, there are not many options for making it enjoyable. However, some little quirks and fun features in the font can take the serious edge off the writing.... Treatise is a light and open serif with some design quirks, which give it a slightly calligraphic feel; a single -storey “a” and “g,” a visible stroke mark on the “o,” and a curved arm on the “k.” These features are subtle enough to fit into a paragraph of text but bold enough to give a title some character. The Treatise family includes a true italic and a heavy-struck style bold, and several OpenType features; standard and discretional ligatures, contextual alternatives, and different figure styles. The character coverage includes Basic Latin, Latin-1 Supplement, and Latin Extended-A and will support most Latin-alphabet languages, including languages with more exotic characters such as Icelandic and Maltese.

After the success of our best-selling Mr Black, we decided to once more use my grandfather’s dry transfer lettering sheets. My grandfather was a Polish military cartographer and he left us some used-up sheets. The letters didn't transfer so well but we liked the way they were damaged. Mr Tiger has upper- and lowercase characters with up to four alternate glyphs. First three variations are only slightly damaged but the fourth one is usually more distorted. All of the glyphs have a very high resolution so they can be used in a large scale and they will still look great. One of the best things in Mr Tiger is the OpenType Contextual Alternates feature. It will automatically set alternate glyphs depending on frequency of appearance of the same character. The script doesn’t throw random glyphs. For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand.

Brithany Script is Hand Lettered Calligraphy Font with beautiful waves and natural flow. has a unique letter style, with natural handdrawn, and has a softer and smoother character subtly connect all the characters. They have a simple elegant swashes in separate letters, you can use graphic design software to access the alternate letter. Brithany Script 427+ glyphs . including initial and terminal letters, alternates, swashes, ligatures and multiple language support. o enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters: http://youtu.be/iptSFA7feQ0nn http://cuttingforbusiness.com/2016/01/28/how-to-use-opentype-fonts-in-silhouette-studio-or-cricut- design-space/ https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your purchase! and please let me know if you have any questions. via email: joelpopon@gmail.com

A type of “handwriting” discovered by chance, extremely abstract On April 8, 1948 a certain Walter Plaga wrote a crude poem about a hero on a commemorative plaque. The very poor reproduction of the handwritten original, etched into a metal sheet, produced extremely abstract forms so that — even if unintentional — a script completely void of bowls was created. That which originally was the normal clumsy handwriting of a layman thus transformed into a pseudo-modern deconstructive typeface, which in the 21st century appears contemporary. The capital letters especially reflect the original: in part they show forms labeled incorrectly ”old German“ handwriting, which is actually Latin, in the letters A D G I J K L S V W X Z , whereas C H N O P R appear very modern. Truly a form of handwriting: without joining the letters, especially between the lower case characters, a silhouette effect is formed. To a great extent Hero is impressive due to its driven-to-the-limit abstraction and to a lesser extent by retaining an antiquated and nearly illegible effect.

Street Tag vol 2 is the second version of Street Tag fonts. Inspired from realistic caligraphy tagging style in many big cities. This style is more bold and readable, perfect for your “street art” designs style. I combined the real graffiti experiences into computer fonts, I think it will be different with other fonts if you can feel it, cause I draw graffiti, tagging and throw ups since I was high school. The real tagging style is never be tidy, but don’t worry, I already adjust the kerning and spacing in the best possible way. You’ll find the better result when you adjust the kerning, and edit baseline manually, especially for the alternates font, if you unfamiliar with these one, you can find many tutorials in youtube, for the example https://www.youtube.com/watch?v=251cTL029M4. what will you get You’ll get some alternates in several alphabet, see that in the font preview, some sample fonts I change the dot in “I” to stars, and I add ‘ into “O”, sometimes we do that in the real walls! You can explore more with this font!

Debacle is a super bold contrastive display face built upon pure geometric shapes. Sharp, angular lines are countered against obtuse rounded forms creating a striking visual discord. Select inner corners are rounded, giving characters dual attributes, while linear round-end counters simultaneously contrast and compliment the square-ended punctuation and symbols. Stylistically, Debacle’s prominent letterforms effortlessly create type-as-image text settings. Its style relates to the lush display typefaces from the seventies, yet is highly contemporary in its refinement and finish. Features include: Precision kerning Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ffi, ffl, ff, fh, fj, ft, tt, th, ct, st, la, aj, fa, ls, es, ev, ew, tz, lv, lw, ti, it, ea, kv, ka, ky, yx, xy, yy, km, yw, wy, yv, vy, kw) Alternate characters (O, Q, _, $, ®, •) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Albireo is a typeface for those times when you have more to say than space to say it. It also looks fantastic spread out across the page as though space doesn’t matter. Expertly crafted with a high level of attention to detail, Albireo is an immensely practical and flexible typeface that’s neutral enough to be used almost anywhere a highly condensed, sans-serif face is needed. Despite its down-to-earth functionality, this is a typeface that definitely isn’t lacking in style. It really shines when used for headlines or subheadings in magazines, brochures, posters, newspapers, flyers or on the web. With 42 weights, widths and italics, there’s enough flexibility to make every word fit perfectly. You may buy one font at a time or save money by purchasing packages consisting of the 14 fonts in each width (Extra Condensed, Condensed or Semi Condensed). Save even more by purchasing the entire collection and, in addition to the 42 separate fonts, you'll receive two variable fonts (upright and italic) that cover all the weights, widths and everything in between. So where does the name come from? Well, look upwards at night. Albireo is a binary star in the constellation Cygnus. Through a backyard telescope, Albireo (the star) resolves into two brilliant component stars — one orange and one blue. The beginnings of the typeface were the result of me needing a newspaper feature headline about space exploration. I couldn’t find the right typeface, so I drew my own letters and eventually expanded it out into an entire mega-family. Given its origins, naming it after my favorite star seemed totally appropriate. Check it out. I think you’ll love it. Albireo deserves its place as a shining star in everyone’s font collection. It’s that good — really.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Neo design has been lightly modified. Three weights have been added (light, Medium, Extra Bold, including Italics) to the original Regular and Bold styles. ITC Ellipse Neo is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Neo offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: December 15, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. Le design de ITC Ellipse Neo a été légèrement modifié. Trois graisses ont été ajoutées (léger, moyen, extra gras, y compris les italiques) aux styles originaux Regular et Bold. ITC Ellipse Neo est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Neo offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

And the day in which I introduce my second typographic family has arrived. In order to do this, I borrowed several passages from this beautiful book by Maurice Maeterlinck, “Life and Flowers”. His poetic observation of Nature made me reflect about the small discoveries behind the flow of my pen on paper. About that quick, spontaneous, overwhelmed stroke, with some awkwardness as well as certainty in it. About the writing that looms line after line. About the mischievous stains of ink flooding my writing tool. Lady Dodó was born as a product of these drawings, pieces of writing and reflections. Following the steps of its ancestor and friend, Lady René, it takes advantage of the goodness of the Open Type technology to propose a systematized as well as a personalized writing font. Both friendly and challenging. Due to the large number of alternate characters (both for lower and upper case as well as for numbers) and to its precise programming, it proposes to design diverse and rich typographical sets with multiple strokes in a simple way. However, Lady Dodó is not just made of typographical signs; it also proposes a set of modules to make patterns and another one to design frames. From the combination of these modular signs, an infinite universe of possibilities for decoration arises. Here is Lady Dodó, ready to get started and write its destiny. July 2015.

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

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

Yes, finally. This one took the most time and the most restarting. Years went into imagining what Lust Text should look like and how it should structurally behave in order to truly improve upon a setting that includes any of the Lust typefaces. I approached it as much from the side of the type designer, as I did a potential user. The flow, the warmth, the personality needed to be there, but all of the excess had to be removed responsibly. In the process, and in need of inspiration, I looked backward to historical artifacts and precedent. In each early Lust Text approach, the solution was lackluster and/or vanilla and not actually a ‘Lust’ typeface. The exercise was not in vain though. By exploring past examples, I found my footing drawing for media now and how it might be used later—all the while, producing seamless, elegant curves and restrained indulgence (that sounds almost silly to say, but I like it). The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

“Blackduck” font is a typical Gothic, usually named “Blackletter” . This typeface was born with the name of “Textur” and developed from Carolingian cursive. It was used in the middle age as sacred script, became increasingly narrower, his vertical lines were emphasized and his strokes very compacted to save space. Along the time the early German print typefaces derived in others styles that were more readable such as Schwabacher and Fraktur, very popular in Germany and sometimes associated to the identity of the country. The font "Blackduck" was inspired mixing carefully the last two “Blackletters”. We try to joine some characteristics of both to reach good legibility without loosing the strong impact and powerfulness of the shapes. Some minuscules like the “o” “c” “e” “d” are rounded on both sides, while both strokes join in an angle at the top and at the bottom. Some other lower cases are formed by an angular and rounded stroke. This font contains a full set of OpenType features; swashes, stylistics alternates, old style figures (Arabic numeral were carefully shape integrated), ligatures and some extras ornaments were added to help in your design. "Blackduck" includes diacritic signs for Central European languages.

handwritten decorative variable font A few fonts already exist which have been drawn in accordance with the exact same principles. But these are just drawn - only drawn. The ANATOLE FRANCE retains the hand script character in spite of its stringent composition. An old portfolio of script patterns from the 1920s or 1930s, which appeared in the Georg D. W. Callwey Publishing House in Munich, includes among its pages one with a handwritten poster script, as was very typical for the 1920s. To begin with, there is the emphasized decorative character, which stands out due to stressing the stems. Next, the attempt to portray the character forms with the help of a few but always recurring basic elements is driven to the limits. Theoretically speaking, that which should have led to a contrived, geometrically determined type, obtains a likeable and pleasant look through the ductus of the manually guided brush. The classic version of ANATOLE FRANCE includes 5 fonts: Light, SemiLight, Normal, SemiBold, Bold. The variable font allows seamless font weights from 300 (Light) to 700 (Bold). Alternate letterforms are available through the appropriate OpenType features: style set 1 (O Q V) style set 2 (v w)

The letters of Trapezoidal are like sheep: they do not like being alone but want to be part of a flock. Many of the individual letters of Trapezoidal look strange and unshapely in isolation because they are designed to fit into a pattern with other letters. That pattern is formed by alternating asymmetric trapezoids, with trapezoids that are wide at the top alternating with trapezoids that are wide at the bottom. The magic of the OpenType feature of contextual alternatives (calt) automatically alternates them. The fonts in the family are largely monospaced and have very tight letter spacing. (If for some reason one wants to use only one set of the letters, the letters will overlap unless one widens character spacing.) (If D and O are too similar, use the alternative versions of D.) The family has five weights and each weight has an italics formed by flipping the trapezoidal pattern over a vertical line. Like other alternating-character typeface families from IngrimayneType, this distinctive and visually-arresting family can be used for titles or advertising. (For another but very different typeface based on alternating trapezoids, see PoultrySign.)

This is a decorative and steganographic Braille font based on Lorraine Cross pattern. As the Lorraine cross splits space into six areas, it may be used to represent Braille glyphs. Provided Glyphs * Lowercase letters (a..z): a White cross and Black square dots * Uppercasecase letters (A..Z): a Black cross and White square dots * Special characters (e.g. !#$%*+<>{}()[]...) * Decorative glyphs (provided in black and white as well) Glyph code intervals - Codes 48..57: Bullets (0..9 digits) - Codes 130..150: 'White Stars' - Codes 192..233: 'Black Stars', Black border glyphs and other black patterns. - Codes 214..233: Border/Decorative glyphs (Black) - Codes 235..255: Border/Decorative glyphs (White) - Codes for Cross w/o dots: Black (192), White (235) - Codes for Cross and 6 dots: Black (191), White (234) - Code for 'Half-width space' (166) Posters 1. Logo: illustrates usage of border glyphs 2. Meta: Two big Lorraine Braille glyphs drawn with pattern glyphs 3. Stars: illustrates usage of 'Star' and pattern glyphs 4. Bullets: illustrates usage of bullet glyphs (0..9) 5. Human rights - Article 1 NB: - Encoding is: Windows Latin ("ANSI") - Published in two versions: Commercial and Free for personal use

Bon Air was one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) in the mid 20th Century. These were some of the last new designs cut into wood by Hamilton until the museum revival in the early 2000s. Bon Air was created in 1958 and trademarked in 1961. The wood type made for Morgan was used largely in department stores to make their own signage. The script styles are reminiscent of sign painters alphabets and evoke a Mad Men era advertising aesthetic. The font was only cut in four sizes: 12, 18, 36 and 72 line. It was distributed by Morgan for use in their presses, but as type high wood type, it could be used on any press. The font was issued with several alternate letters and ligatures to simulate the effect of hand lettering. Its lively strokes and odd details give it an exotic flavor suitable for advertising display work. The digital version includes all of the original alternates plus new characters to fill out a full European character set.

You can download usiful link: Bodrum Sans PDF Type Specimen Bodrum Sans is a sans serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. Bodrum Sans is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Bodrum Sans a harmonious and sensible appearance for both texts and headlines. Bodrum Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Sans 14 Regular” forms the central point. "Bodrum Sans" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy in all graphic programs. Bodrum Sans is the perfect font for web use.

"Bodrum Style" is a serif Style family designed by Bülent Yüksel in 20018/19. The font, influenced by serif styles that were popular in the 1920s and 30s, is based on optically corrected geometric forms for a better readability. "Bodrum Style" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances help the legibility and give "Bodrum Style" an harmonious and sensible appearance for both texts and headlines. Bodrum Style provides advanced typographical support for Latin-based languages. An extended character set - supporting Central, Western and Eastern European language - rounds up the family. “Bodrum Style 14 Regular” forms the central point. "Bodrum Style" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Medium, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Style is the perfect font for web use. Enjoy using it.

“Bodrum Slab” is a slab serif type family. Designed by Bülent Yüksel in 20018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. “Bodrum Slab” is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give “Bodrum Slab” a harmonious and sensible appearance for both texts and headlines. Bodrum Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Slab 14 Regular” forms the central point. “Bodrum Slab” is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Slab is the perfect font for web use.

Fungia is the result of an experiment to remelt loose natural forms to a coherent structure of a typeface. The idea appeared as a kind of joke: what letters look like if based on the shape of mushrooms. In a sense the structure of�mushroom has some affinity to the structure of�a letter: a cap and a stalk remind�a serif and a stem respectively. So it was pretty easy to design such straight letters like I, E, L, F. The captivating challenge was to apply the idea on round letters (O, C, D, G), letters with diagonal (N, M, Z) and signs without serifs (digits, @, &). The result exceeded expectations. The typeface turned sophisticated and vibrant but absolutely consistent. It became capital-only font in one weight. Because of its opulent forms Fungia performs best in large size and short inscriptions. However it provides readability in small size as well. Fungia is more likely thing-in-itself. Initially it wasn't intended to solve specific design challenges. But the alleged scope could include book covers, posters and billboards, street signs, magazin spreads and all situations that demand�expressive typography. Fungia supports extended latin and russian cyrillic script systems.

Introducing the New Icon Font Duo. This luxury script and timeless serif are perfectly designed for one another-not only are they strong standalone fonts, but will pair beautifully when placed side by side. Feeling creative? They can even be mixed together within the same word for a more eye-catching layout, giving you a versatile set of fonts which can be used & loved across a range of design projects. Included in this family; New Icon Serif • A classic, all caps serif font with nostalgic notes. Contains alternate large-width O,G,Q,C characters in the ‘uppercase’ set. New Icon Serif Condensed • A thinner version of the New Icon Serif. New Icon Script • A luxury, cursive script font containing upper & lowercase characters. A beautiful letter set inspired by traditional calligraphy, which can be used on it’s own or paired effortlessly with the serif font. Contains alternate lowercase y & g with elongated tails, accessible by turning on ‘Stylistic Alternates’ or via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

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

Quieta is a humanist serif typeface inspired by the aesthetics of Italian Renaissance and by the empowering history of the painter Artemisa Gentileschi, first woman to be admitted to an Academy of Fine Arts in Italy. The designer, Maria Chiara Fantini, has used sharp flat-nib calligraphic strokes to add a vibrant contemporary vibe to the traditional humanist proportions. Classical details (such as the beak of the “e” and the angled stress of the “o”), are balanced by a modern and readable low-contrast design, developed in a range of six weights with a matching set of true italics. A Display weight, with lighter shapes and stronger contrast has been developed excel in logos, headlines and captions. The wide array of alternate, decorative and swash glyphs and the full coverage of over 200 extended latin languages make Quieta a solid, highly readable and elegant typeface perfect for body text both on the screen and on the printed page. Graceful and powerful at the same time, this typeface family is ready to help you when in need of the timeless appeal of a self-conscious feminine elegance.

For best results, use of OpenType features is strongly recommend. This font is inspired by Johannes Janssonius, well know as Jan Janszoon o Jan Janssonius (Arnhem, 1588 – Amsterdam, 1664), was a Dutch cartographer, publisher and engraver. Married to Hondius's daughter. He was the author of many masterpieces of cartography of the 1700s like Willem Blaeu and Hondius, famous maps with heavy use of decorations in the letterig to fill the spaces of oceans, seas, lakes and scrolls. Now you can easily recreate not just ancient maps without effort, but you can use this font creatively, to make unique, modern logos, product names, fresh packaging, hip fashion outfits, refined labels, signs, coordinated images ... Hundreds of alternatives to choose from and maybe to combine with other fonts in an original way. One extra font with 27 castles in Janszoon style are also usefull for map, of course, but also for many different creative artworks. Warning: Jannson Map having oversized swashes compared to the normal standards cannot be used with Windows Word because Word does not give the possibility to manage the line spacing professionally. Jannson Map works great with applications like Illustrator, In Design, quark Xpress, mac Text etc ...

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity.