Latest styles callove script with the kind of modern hand scratches, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains alternate style Stylistic Sets, Swsh for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Callove script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc. if you have a problem? Contact me: genesislabstudio@gmail.com

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Burner is an advanced, connecting, wildstyle graffiti font family including over 200 unique letters, numbers & symbols. The family includes outlines, fills, details and more. Mix and match glyphs from 3 alphabets, add end pieces and more. Repeating flames, arrows & flourishes & other embellishments are included. The Burner family includes 3 full alphabets in each of the 4 styles as well as numbers, punctuation and a wide array of arrows, bars , begining & end pieces. Like some of our earlier wildstyle typefaces such as RaseOne or WildStyle, the Burner font family is a layered type system made to work as a team. In nearly any application 2 or more styles can be easily layered to create advanced, multicolor, wildstyle pieces. This layering system provides a shortcut to time consuming effects such as sharp corners & variable widths on outlines, fills & details. The original glyphs were all drawn by hand taking inspiration from actual painted & drawn wildstyles from RaseOne spanning the late 90's to about 2006.

Beauty Cosneta is a new modern script font with an irregular base line. Trendy and feminine style. Sweet lady Script looks beautiful on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for use in ink or watercolors. Includes initial and final letters, alternatives, binders and multi-language support. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are additional ways to access alternatives / swashes, using Character Map (Windows), Nexus Fonts (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters: This offer is available without limits. This package is perfect for greeting cards, branding, business cards, quotes, posters, stickers, blogs, logos, weddings, signage, packaging, birth announcements, photo overlays, wall art, quotes, printed matter, bags, t-shirts and many again! thank you for buying.

A classical 20-th century's (1900s to 1980s) typewriter font for both text and large display usage, titles, signage... A new thicker version of Selectric (2016), as if typed using not a thin carbon ribbon but a coarse fabric one. Both are available on a different models of Selectrics. Made after rare enough samples of the same style used during 1980s in the USSR. Based on the actual letter proportions of the original typewriter Selectric (2016) (Cyrillic ball). This time not monospaced as before, but proportional. The single known so far previous typewriter vector typeface with this 'ink blotting' effect (similarly expanded serifs) as in Dodo (2008) is ITC American Typewriter (1974; by Joel Kaden and Tony Stan) and all its hand drawn analogs from 1980s (and perhaps before). Which, in turn, is resembling ATF Bulletin Typewriter's (1925, 1933; by Morris Fuller Benton) overall proportions, geometry, and even had some natural ink expands in its paper sample (but not by design, as I see it).

We used to have a composite worktop in our 'old' kitchen. It was cheap and the kitchen-guy warned us not to put any hot pans on the worktop, as it could crack due to Thermal Shock. Duh... When we installed our new kitchen, we opted for a ceramic worktop, which can handle hot pans being placed on it! Thermal Shock font is a very nice, handmade brush font. If you ever bought any brush fonts of mine, you will know that I almost always use Chinese ink and cheap brushes to create 'the look'. It is always a bit of a surprise how a Chinese ink brush font turns out: I created one the other day and it looked horrible, so it was banned.. Thermal Shock turned out to be a looker. Thermal Shock comes with one set of alternate glyphs, extensive language support (including Greek and Vietnamese) and a guarantee it won't crack in super hot designs.

Greather is a casual script and clean brush script with a bouncing baseline. Include OpenType alternates and common ligatures. Try the alternates and ligatures to give your designs looks good, fresh, casual, stylish, and modern. Greather is equipped with 357 glyphs with a variety of alternate options and ligatures to suit your choice. 40 glyph ligature style. by having many of these glyphs will be able to select the letters according to your likes, many variations and options for each letter, so you can customize on your design choices. To use a variety of flying machines, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows)

Happy Birthday Font is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more, you can try first if you want to buy this font. Happy Birthday Font is equipped with 363 glyphs. and by having many of these glyphs there will be able to choose the letters according to your likes, lots of variations and options for each letter, so you can customize on your design choices. To use a variety of flying machines, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) Thanks and happy designing :-) Thank You for purchase! Arief.hk

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Made in La Chaux-de-Fonds (Switzerland), HyperTurfu was born during the shooting of “The Return of Hyperturfu Xpress 2”. A GoPro on a lego electric train, meters and meters of rails, an empty industrial space, loads of puppets, paper, cardboard, pizza boxes, lights, hot glue and a bunch of friends preparing a one shot scene for a month. The title of the movie was made out of lego pieces, painted with golden spray and hanged over the rails. It was the first inspiration for this awsome superbold font. HyperTurfu is thought from ground up to give a strong impact. It’s gothic retro science fiction 80’s style makes it best suitable for metal music albums or posters. As the “Banco” font it works perfectly with short texts for advertisement, bar, cofee shops concert places or even fancy hairdresser. Just hang it over a pet shop and see what cool animals will come in.

Scan is literally a barcode font, made of actual barcodes, shaped in De Stijl style. It is a monospace, all-caps font with two different barcodes per letter. These offer the user a choice of a heavier look with the upper case and a lighter look with the lower case. Numbers and letters each have their own distinct barcodes. Also included are an alternate K and R. This font offers numerous ways to create artistic presentations with its unusual design. In certain contexts it has a foreboding look of impending doom, or a cool, cutting edge futuristic look, which lends itself to artwork for album covers, video games, movies, television, novels, and more. It can even have a whimsical look with the use of different colors for its individual bars. Some renderings reveal a ridged or textured look, even a 3D or three dimensional look. Scan gives the user a very high degree of creative potential! Digitized by John Bomparte.

A man purposes himself the task of drawing the world. Among the years, he populates a space with images of provinces, reigns, mountains, bays, ships, islands, fishes, rooms, instruments, heavenly bodies, horses and people. A while before he died, he discovers that patient labyrinth of lines traces the image of his own face. J. L. Borges. SL Borges is a homage to the genial Jorge Luis Borges, illustrious Argentinean writer who lived between 1899 and 1986. Sharply depicted by Augusto Costhanzo, SL Borges synthesizes to icons the big themes that obsessed him: the infinite, labyrinths, libraries, identity. But it although traces lines over the more human side of the writer, who loved cats, fervent politics and the taste of Tango. SL Borges abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Borges takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

Newercastle is the new incarnation of a popular Chank font formerly known as "Newcastle". A consistent fan favorite since its initial release in 2005, the distressed blackletter font is new and improved. This sinister script is now bulked up with all-new capital letters, a bit of punctuation, and smattering of new crowns, griffins and other heraldic doodads. Designer Kevin Hayes opted for an assortment of gritty old icons instead of more traditional punctuation, because he felt that's just the way this type of font could perform best for you, the font enthusiast. "At-signs and percentile glyphs just aren't believable in fraktur-style fonts," says Kevin. You benefit by getting a bit of clip art with the new font instead of boring old punctuation. Use the new bats indiscriminately to add a regal air to even the most mundane newsletter. Or use layer upon layer to add a rustic richness to a poster project. Enjoy this wicked, textural type and use it with extreme force.

Big River is an elegant sans serif and handwritten font duo with lots of extras. It includes: - A wide sans serif font in three weights (with caps and small caps); - A handwritten font with a regular and slant version, and bonus swashes to give your designs a more natural look. Each font includes: - A-Z, a-z, 0-9, accents, punctuation and symbols - Contextual alternates (script) - Ligatures (script) This font duo makes it so easy to achieve beautiful and eye-catching designs, and is perfect for both short and longer texts. It can be used for making postcards and notes, creating logotypes, social media posts, branding and packaging, etc. Please note: No special software is needed in order to access the extras, as they are in a different font file. You can simply access them directly in your font bar (a-z for terminals in regular, A-Z for terminals in italic, and 0-1 for squiggles).

Lightbox 21 is a radical update of my previous version of a geometric sans serif. The design of the original Lightbox was fundamentally based on the idea of incorporating the proportions of the ‘Golden Ratio’ into each letterform; Lightbox 21 greatly improves on this concept by entirely abandoning it. The result is a much more readable, ‘natural’ typeface that retains elements of the original without being bound to it. Overall, Lightbox 21 has been designed to convey that classic feel of a geometric sans that makes the genre so tremendously enduring and versatile, as well as providing an effortless sense of class to whatever they are applied. Primarily intended for editorial work (i.e. short to medium length texts) or display settings, Lightbox 21 has a reasonably extensive character set, including support for Vietnamese, many currency symbols, arrows, and small caps. It also has OpenType support for nut fractions (via a stylistic set) and a barred alternate uppercase i and an alternate curled j.

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Ico Phone is a set of 115 symbols depicting anything that happens on the screen of a regular mobile phone. To name a few, there are Bluetooth and sync icons, signal bars, battery statuses, media playback icons, USB symbol, lock icon as well as a wifi signal strength indicator. The style of Ico is inspired by the look of symbols used on the classic monochrome LCD displays. The symbols are monolinear with rounded corners, composed of a smallest possible number of elements. In addition, the rounded style is accompanied by a second style with sharp corners and more detailed drawing. All symbols of Ico share the same width, making the font compatible with the LCD typeface ION. Together, they are the perfect sollution for LCD style typography. Ico Phone is a part of a larger set. Have a look at the other available Ico fonts and don't forget to check back soon for even more additions.

Schrödinger's is a remarkable signature font which was made hand-drawn manually using Hitech-C pen, This typeface is very natural-like and make your design stand out! Schrödinger's is perfect for gorgeous logos, cards, quotes, posters, wedding invitations, blog posts, social media, and more! To keep it more natural-like, we provide you hundreds of ligature! Schrödinger's font contains following ligatures: aa ab ac ad ae af ah ak al am an ar as and ant at att all av aw ax ay az bb bl bt cc cd ce ch ck cl cm cn cr cs ct db dd dl dt ea eb ec ed ee ef eh ek el em en er es end ent est et ett ell ev ex ey ez ff fi fl fo gh ght gt he ht ib ic idd ie if ih ik il im in ir is ind int ist it itt ill iv ix iy iz kk la le ll lt mm mt ns nt oa oe of oh oi ok ol om oo or os ond ont ost ot ott oll ov ow ox oy oz pp rr sh sl ss st th the tl tt ub uc ud ue uf uh uk ul um un ur us und unt ut utt ull uv uw ux uy uz wh yy zz nn Not only that, we also include swashes and love swashes for those who interested in valentine stuff! Schrödinger's features: A full set of upper & lowercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters +418 Glyph Up to 163 Ligatures Swashes OpenType Features In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

Levato, the first font designed by Felix Bonge, is an Antiqua that is full of character and is refined but by no means sterile. This typeface provides for a wide range of options for creating individual designs. It was not really Felix Bonge's intention to create a whole font family when, as a second year student, he began several exercises in contrast and proportion as part of the typeface design course of Professor Veljovi? at Hamburg University of Applied Sciences. However, these initial studies developed into a project that Bonge persisted with over the following years while working towards his degree. He continually had new insights and ideas that he was able to exploit for his font. Of particular importance, he claims, was a calligraphy seminar, which prompted him to completely rework his concept. It took him several years before his extensive font Levato™ was ready. Although the forms of Levato are ultimately derived from Renaissance Antiqua, Bonge has slightly increased the relative contrast in his version. This gives the font a graceful appearance that is further emphasized by the reduced x-height and the associated prominence of the ascenders. And, in addition, the relatively fine serifs, which are almost linear at their ends, infuse Levato with a hint of classical Antiqua á la Bodoni. At the same time, Bonge cleverly compensates for the sterilising tendency of this font form. Soft and rounded serif attachments and rounded line apexes offset the severe nature of the font and provide it with an aura of vivacity. This effect is promoted by the calligraphic-like foot of the lowercase h, n and m and the not quite horizontal bars of the uppercase E and F. Overall, Bonge has succeeded in creating a refined and yet very dynamic typeface. Levato is available in five weights; Light, Regular, Medium, Bold and Black, in each case with the corresponding italic versions. Bonge treats Levato Italic as a genuine cursive typeface. Its letters are thus slightly narrower than the analogous upright letters and their forms are considerably more curvilinear. All the versions of Levato boast an enormous range of characters to meet all possible requirements. In addition to four sets of minuscule and majuscule numerals for tabular and proportional typesetting, there are also small caps, numerous ligatures, ornamental characters and even swash variants of letters. With their generous, sweeping curves, the swash variants (available as OpenType versions) can be used for striking titling effects or as initials.

Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broek also worked for HAL with large surfaces and fixed lines in which primary colors dominate, accentuated with shadows acquired by spraying technique. He also made graphic works for, among others, the World Exhibition in New York, the Dutch railway company ‘Werkspoor’ and the royal Dutch steel factory ‘Hoogovens’. His drawings and lettering gave me a love for the trade and naturally gave me a completely different view on fonts. That’s how I slowly but surely made my way to the trade. Based on the letters I had at my disposal from the Holland – America Line poster, I started to complete the alphabet in the same style as the original text. I digitized everything in order to acquire a usable and modern font. The Holland America Line Font comes with uppercase and lowercase with all the needs of modern times to create a good digital font and to be able to use it for all graphic purposes. The font is ideal for headtext, posters, logos, etc... Don't hesitate and use this unique historical font! It will give your work that glamour that you will find in few fonts. Enjoy the Holland America Line. The Holland America Line Font comes with uppercase, lowercase, numerals, punctuations so you can use the Holland America Line font to customize all your designs. The Holland America Line font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. The Holland America Line Font can be used for all graphic purposes. It is ideal for headtext, posters, logos,  logos, letterhead, apparel design, package design, label design etc... Don't hesitate any longer and enjoy this unique historical font! It will give your work the glamour that you will only find in a few fonts. Enjoy your journey with the Holland America Line!

In March 2011, the Society of Typographic Aficionados began organizing a collaborative project that would unite the typographic and design communities. The goal of Font Aid V: Made for Japan was to raise funds to expedite relief efforts after the devastating earthquake and tsunami in Japan. Nearly 300 contributors from 45 countries sent in over 500 glyphs in a single week. Behind the scenes, volunteers Neil Summerour, Silas Dilworth, Delve Withrington, and Grant Hutchinson were up to their elbows in Adobe Illustrator and Fontlab assembling the typeface. The sheer number of submissions coupled with the complexity of some of the designs caused unforeseen delays in completing the typeface. The team not only managed the immense influx of submissions, it also had several technical hurdles and multiple content reviews to mitigate before the final font could be produced. Several months after the project was initiated, Font Aid V: Made for Japan was finally ready for distribution. With the help of Sogo Japan, all proceeds from sales of this typeface will be delivered directly to organizations in Japan, such as Second Hand and AMDA International (Association of Medical Doctors of Asia). Sogo Japan strives to help circumvent regular international charity channels and the inefficiencies associated with them. Thanks to everyone who participated and helped us spread the word about the Font Aid V: Made for Japan project. In particular, we would like to acknowledge the following individuals and groups for their participation and involvement: Jonathan Abbott, Rui Abreu, Frank Adebiaye, Tim Ahrens, Anonymous, Eero Antturi, Leonardo Aranda, Hector Carrillo Aspano, Danielle Atnip, Alejandro Cabrera Avila, Christophe Badani, Joanne Gyo Young Bae, Ben Balvanz, Cynthia Bataille, Priyanka Batra, Donald Beekman, Hannes Beer, David Berlow, Kevin Beronilla, Fabian Bertschinger, Nicole Bittner, Bart Blubaugh, Dathan Boardman, Andrew Boardman, Joel Vilas Boas, Konstantin Boldovskiy, Scott Boms, Michael Browers, Vickie Burns, Matt Burvill, Daniele Capo, Seymour Caprice, Mauro Caramella, Matevž Čas, Eli Castellanos, Sarah Castillo, Tom Censani, Pinar Ceyhan, Ivette Chacon, Hin-Ching Chan, Sarah Charalambides, Karen Charatan, Sinde Cheung, Todd Childers, Justin Chodzko, Felipe Coca, Antonio Coelho, Jefferson Cortinove, Alan Lima Coutinho, Nick Cox, Nick Curtis, Girish Dalvi, Christopher DeCaro, Thomas C Dempsey, Matt Desmond, Chank Diesel, Anum Durvesh, Suzie Eland, Engy Elboreini, Craig Eliason, Emi Eliason, James Elliott, Grace Engels, Exljbris, Hillary Fayle, Carol Fillip, Jeff Fisher, Scott Fisk, John Foley, Stuart Ford, Mathias Forslund, Brock French, Anina Frischknecht, Eric Frisino, Chiyo Fujimori, Kaela Gallo, Ayesha Garrett, Harald Geisler, Alfonso Gómez-Arzola, Adriana Esteve González, Richard Gregory, James Grieshaber, Grupoingenio, Kemie Guaida, Carlos Fabián Camargo Guerrero, Rachel Han, Erin Harris, Stefan Hattenbach, Magnus Hearn, Marissa Heiken, Georg Herold-Wildfellner, Jamie Homer, Ed Hoskin, Dav[id Hubner], Jonathan Hughes, Rian Hughes, Grant Hutchinson, Xerxes Irani, Masayuki Izumi, Jan Janeček, Hyun Kyung Jang, Julien Janiszewski, Dušan Jelesijevic, Cal Jepps, Meghan Jossick, Evamaria Judkins, July Twenty Fourth, Erica Jung, William K, Claes Källarsson, Kapitza, Asutosh Kar, Arno Kathollnig, Sami Kaunisvirta, Hajime Kawakami, Scott Kaye, Richard Kegler, Anna Keroullé, Bizhan Khodabandeh, Lara Assouad Khoury, Ilona Kincses, Becky King, Sean King, Megan Kirby, Max Kisman, Keith Kitz, Romy Klessen, Akira Kobayashi, Kokin, Kozyndan & Silas Dilworth, Atushi Kunimune, Andreas Kuschner, John Langdon, Ray Larabie, Jess Latham, Kelly D Lawrence, Matic Leban, Chien-Hao Lee, Bryan Levay, Enrico Limcaco, Andreas Lindholm, Andrew Loschiavo, Chris Lozos, Ian Lynam, John Lyttle, Gustavo Machado, Jonathan Mak, Ricardo Marcin, Jeannie Mecorney, Steve Mehallo, Cristina Melo, Martin Mendelsberg, The Midnight Umbrella Studio, Goro Mihok, Ojasvi Mohanty, Ahmed Mohtadi, Alixe Monteil, Veronica Monterosso, Dani Montesinos, Masanobu Moriyama, Misa Moriyama, Pedro Moura, John Moy Jr, Marc Marius Mueller, Shoko Mugikura, Joachim Müller-Lancé, Diane Myers, John Nahmias, Yoshihisa Nakai, Hiroshi Nakayama, Reiko Nara, Nathoo, Titus Nemeth, Nathanael Ng, Ngoc Ngo, Antoninus Niemiec, James Ockelford, Kunihiko Okano, Naotatsu Okuda, Toshi Omagari, Onikeiji, Ozlem Ozkal, Jason Pagura, Hrant Papazian, Brian Jongseong Park, John Passafiume, Patrick Griffin, Alejandro Paul, Vian Peanu, Dylan Pech, Rebecca Penmore, Peter Brugger, Jean François Porchez, Carolyn Porter, Andrew Pothecary, James Puckett, Rachel Hernández Pumarejo, James Random, Liam Roberts, Tom Rogers, David Jonathan Ross, Sumio Sakai, Sana, Stuart Sandler, Rafael Saraiva, Riccardo Sartori, Ai Sasaki, Yee Wen Sat, Agnes Schlenke, Giovanna Scolaro, Roland Scriver, Alessandro Segalini, Shawn Semmes, Jane Sheppard, Josh Sherwood, Paulo Silva, Mark Simonson, Luis Siquot, Greg Smith, Owen Song, James L. Stirling, Nina Stössinger, Tanya Turipamwe Stroh, Kevin Strzelczyk, Neil Summerour, Superfried, Shiho Takahashi, Shuji Takahashi, Yusuke Takeda, Naoyuki Takeshita, Bruno Tenan, Chung-Deh Tien, Tom, Ryoichi Tsunekawa, Alex Tye, Matthew Tyndall, TypoVar, Virginia Valdez, Beatriz Valerio, Tom Varisco, Brayden Varr, Catarina Vaz, Andy Veale, Yvette Claudia Velez, Marie-Anne Verougstraete, Abbie Vickress, Ray Villarreal, Pat Vining, Courtney Waite, Hoyle Wang, Viola Wang, Jim Ward, Grace Watling, Terrance Weinzierl, Robert Weiss, Stuart Weston, Kevin Wijaya, Dave Williams, Beau Williamson, Delve Withrington, Katherine Wood, Neil Woodyatt, Jesvin Yeo, Yokokaku, Kazuhi Yoshikawa, YouWorkForThem, Matt Yow, Charlton Yu, Yuriko, Ron Za, Jayson Zaleski, Víctor Zúñiga

Introducing Sun Type, a delightful and versatile serif logo font that exudes creativity and charm. With over 150 ligature glyphs and alternate characters, this font offers a wide range of design possibilities, allowing you to craft unique and visually stunning logos and brand identities. Sun Type goes above and beyond with its extensive collection of 52 swashes, offering you the opportunity to add elegant and decorative elements to your text. These swashes effortlessly elevate your designs, giving them a touch of sophistication and individuality. Not only does Sun Type excel in its aesthetic appeal, but it also showcases its practicality by supporting a staggering 87 languages. No matter where your audience is located or what language they speak, you can confidently communicate your message with this font. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu LigaturesAB,AC,AD,AF,AG,AI,AK,AL,AM,AN,AP,AR,AT,AU,AV,AW,AY,BA,BE,BI,BL,BO,BU,CA,CC,CE,CH,CI,CK,CL,CO, CR,CT,CU,DA,DD,DE,DI,DO,DS,DY,EA,EC,ED,EE,EF,EG,EI,EL,EM,EN,EP,ER,ES,ET,EV,EW,EX,EY,FA,FE,FF,FI, FO,FR,GA,GE,GH,GO,GS,HA,HE,HI,HO,HT,IK,IL,IM,IN,IT,IH,KE,KI,KN,KO,LA,LE,LF,LI,LK,LL,LO,LT,LY,MA,ME, MM,MO,MP,MS,MU,NC,ND,NE,NG,NK,NL,NN,NO,NS,NT,OA,OB,OC,OD,OF,OG,OI,OK,OL,OM,ON,OO,OP, OR,OS,OT,OU,OV,OW,PE,RA,RE,RF,RK,RM,RN,RO,RR,RS,SA,SC,SE,SH,SK,SS,ST,TC,TE,TH,TI,TL,TO,ST,TT,TU, TW,TY,UC,UE,UL,UM,UN,UR,US,UT,VA,VE,VO,WA,WE,WH,WN,WO,YE,YO,YS,MEN,FRO,RON,ROM,THE, AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,TER,WAS,YOU,ITH,VER,ALL,THI,OUL,GHT,AVE,HAV,HIN,ATI, EVE,HING,WERE,FROM,THAT,THER,HAVE,THIS,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Syntachron is an extraordinary monospaced font that stands out with its futuristic and mecha-inspired design. What sets this font apart is its unique ability to combine simplicity, modernity, and boldness, resulting in a visually captivating typeface. It is the perfect choice for those seeking to create impactful posters, eye-catching marketing materials, captivating logos, attention-grabbing headlines, and engaging book and magazine layouts. One of the distinguishing features of Syntachron is its compatibility with the Cyrillic alphabet, offering versatility and style for a wide range of design projects. Whether you're working on international branding campaigns or multi-language publications, this font seamlessly integrates with the Cyrillic characters, ensuring consistency and cohesiveness across different languages. In terms of typeface pairing, Syntachron harmonizes exceptionally well with related families and typefaces that share its sleek aesthetics and futuristic vibe. It complements and enhances other fonts, enabling designers to create stunning combinations that amplify the impact of their designs. Beyond its striking appearance, Syntachron excels in its functional aspects. The font comes in a variety of styles, allowing for versatility in design choices. Its monospaced nature ensures consistent character widths, making it ideal for code snippets, technical documentation, and typewriter-style layouts. Furthermore, Syntachron offers a comprehensive character set with special features, enabling the seamless creation of diverse and engaging designs. The design concept behind Syntachron was to capture the essence of a futuristic world and merge it with the mechanical elements of mecha-inspired aesthetics. The result is a font that exudes a sense of cutting-edge technology and boldness, empowering designers to create visually striking and impactful designs that captivate their audience. Syntachron was meticulously created to fulfill the need for a font that seamlessly merges modern simplicity with futuristic design elements. Its purpose is to provide designers with a versatile tool that sparks creativity and enables them to craft stunning visual experiences. With its sleek aesthetics, support for the Cyrillic alphabet, and functional aspects, Syntachron is an indispensable asset for any design project seeking to embrace the future.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

Le Typorium présente une nouvelle famille de caractères calligraphiques basés sur une écriture étudiée à travers les manuscrits et autographes de Georges Brassens, poète et musicien (1921-1981). Son tracé, rigoureux et appliqué, souvent minutieux, est à l’image d’une œuvre unique et singulière, immédiatement reconnaissable. Le script Brassens offre des fonctionnalités OpenType telles que des caractères alternatifs pour les majuscules et les minuscules afin de renforcer la fluidité d’une écriture manuelle, des chiffres alternatifs, des fractions et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues étrangères. Trois graisses ont été créées afin d’offrir une large palette de possibilités graphiques. 60 images d’un poète qui a cassé sa pipe à l’âge de 60 ans., classées en trois séries de vignettes (pictogrammes, symboles, portraits), elles illustrent l’univers imagé et la richesse symbolique de la poésie de Georges Brassens où les représentations mythologiques et allégoriques y tiennent une part importante. Georges Brassens est un poète, auteur-compositeur-interprète né à Sète le 22 octobre 1921, mort à Saint-Gély-du-Fesc le 29 octobre 1981 et enterré au cimetière Le Py de Sète. Auteur de plus de deux cents chansons populaires, il met en musique et interprète ses poèmes en s’accompagnant à la guitare. Outre ses propres textes, il met également en musique des poèmes de François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, ou encore Louis Aragon. Il reçoit le Grand Prix de Poésie de l’Académie Française e 1967. Un grand nombre d’écoles, salles de spectacle, voies, parcs et jardins portent également son nom, dont à Paris le parc Georges-Brassens, tout proche de l’impasse Florimont où il vécut ses premières années parisiennes, de sa maison de la rue Santos-Dumont et du café Les Sportifs Réunis – Chez Walczak – rue Brancion qui lui inspira « Le Bistrot ». À Sète, l’Espace Georges Brassens ainsi que de nombreux festivals et associations redonnent vie au poète et à son œuvre. The Typorium presents a new calligraphic typeface family based on a writing studied through the manuscripts and autographs of Georges Brassens, poet and musician (1921-1981). Its layout, rigorous and applied, often meticulous, is in the image of a unique and singular work, immediately recognizable. Brassens script offers OpenType features such as alternate characters for upper and lower case to enhance the fluency of handwriting, alternate numbers, fractions and an extended accented character set to support many foreign languages. Three weights have been created to offer a wide range of graphic possibilities. 60 images of a poet who broke his pipe (French expression for passing away) at the age of 60, classified into three series of vignettes (pictograms, symbols, portraits), they illustrate the imagery world and the symbolic richness of Georges Brassens poetry where mythological and allegorical representations hold an important part. Georges Brassens is a poet, singer-songwriter born in Sète on October 22, 1921, died in Saint-Gély-du-Fesc on October 29, 1981 and buried in Le Py cemetery of Sète. Author of more than two hundred popular songs, he sets to music and performs his poems, accompanying himself on the guitar. In addition to his own texts, he also sets to music poems by François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, or Louis Aragon. He received the Grand Prix of Poetry from the Académie Française in 1967. A large number of schools, theaters, streets, parks and gardens also bear his name, including in Paris the Georges-Brassens park, very close to the impasse Florimont where he lived his first years in Paris, his house in the rue Santos-Dumont and the café Les Sportifs Réunis - Chez Walczak - rue Brancion which inspired "Le Bistrot". In Sète, the Espace Georges Brassens as well as numerous festivals and associations bring the poet and his work back to life.

Introducing Culoare V2.0 is the second version of the space bright color gradient font. (The first version is here - Culoare) This is a new set with completely new color combinations, bright and saturated like neon. 3 types of stylization in 9 different color gradient combinations with soft transitions. Letters seem to be backlit and it looks very original in addition to stylish minimalist glyphs. Lots of design use cases. Ideal for promotional illustrations, headlines and covers. Font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Culoare V2 Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different colors. - Transparency in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Teo Tuominen’s Trevor took its first breath as a revival of an 18th century antiqua, but culminated in an entirely new and good-natured family. Trevor is an affable slab serif in nature: both heavy and kind. Known for their familiarity and their dark colour, the terminals of slab serifs put additional weight along the line to maintain an inky presence. Their clunky forms reveal slight immaturity and arouse the reader’s sympathy for the subject at hand. Trevor connects with others by consciously riding the line between being personal and commanding. One goal with Trevor was to pair the robust nature of a low contrast slab serif with more sophisticated elements, such as the ball terminals. So wherever one looks in Trevor, rounded corners rule the day, softening the overall appearance by mimicking ink spread made by old metal type. The easygoing look is tempered by very few inktraps and sharp corners, mostly to the inside of characters and in acute angles. Whatever Trevor is paired with, it has an altruistic outlook in that it sees the best in others. It’s the neighbourly type family
 — the neighbour you actually want. Trevor’s almost monolinear weight and high x-height give it a typewriter look in the extralight and light weights, but the whole family was made to work with many other font styles, design work, and information structures. It certainly finds its home in packaging and advertising, its sturdy verticality and narrowness fit the needs of headlines and intro text, and its seven weights are primed for plays and involved text needing many layers of distinction. The black weight is treated like a separate display style with altered ball terminals and serifs to capitalise on the added heft. Trevor’s seven roman weights cover the Latin A Extended glyph set to bring its kindly and commanding outlook to your projects. Along with alternate version of the ‘R’ in the black weight, its OpenType features include both tabular and proportional lining and oldstyle figures, ligatures, and fractions. The complete Trevor family, along with our entire catalogue, has been optimised for today’s varied screen uses.

When Hal Taylor saw the 1930 logo for the Stetson Shoe Company of Weymouth, Massachusetts, he didn't run out and buy a pair of loafers. Instead, he seized on this striking example of an Art Deco logotype as the basis for a new typeface design. “I was impressed with the delicate and sophisticated letter forms,” Taylor recalls, “particularly the enlarged cap S -- in any other case it would have seemed unbalanced, but in the context of this logo, it worked perfectly.” All the letters in the original all-caps Stetson Shoe logo were rendered with condensed proportions except the O, which was a perfect circle. While the prominent O added visual interest to the logo, Taylor knew that such a character would limit his typeface to display applications. For versatility's sake, he drew his O for ITC Stepp with the same proportions as the rest of the alphabet. Taylor also gave the logotype's inverted S a more traditional design, but kept the original as an alternate character in the OpenType font. Taylor's toughest challenge during the design process was creating a lowercase. “A good type design tells you what it wants to be,” he says, “and after a little while the Stepp caps began to tell me what the lowercase should look like.” Taylor's lowercase is slightly more conventional than the caps. The jaunty g" and almost upside-down "s" add subtle charm, while the capital letters provide the broader gestures of Stepp's personality. Together, they create a versatile and distinctive typeface design. One of Hal Taylor's first jobs was as a photo-lettering typographer in Philadelphia, setting headlines and creating custom lettering. This was followed by a stint doing finished lettering for John Langdon, whose ambigrams appear in Dan Brown's best-selling novel, Angels & Demons. Today, Taylor works as a graphic designer in the publishing industry, but he still finds time to create an occasional hand-lettered book jacket, and draw handsome typeface designs. ITC Stepp is available in four weights, ranging from Light to Ultra Bold. All four weights have companion italics, and the lightest three weights also offer a suite of small caps."

The clock struck 2am. In the Wixendorf Café, a dingy diner off Route 75, the waitress behind the bar took another swig of whiskey—it was one of those nights. Ask to get a cup of coffee and you’re never sure how much will end up in your cup and how much will end up on the bar top. But it is hot, and paired with a plate of cherry pie? Why, that place is a slice of heaven. Tipsy Waitress, with a few too many swigs of liquor, is full of character and ready for any task—if you don’t mind a bit of sloppiness! The font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Western Europe language support - A whole heck of a lot of fun Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

Introducing Echowarp is an unusual COLORED font family. Main idea of ​​this font is that a colored echo spreads and fades from minimalistic letters to the sides. Distorted letters give the effect of temporary refraction. The originality of this family is primarily suitable for a bold design. And if you add a random distortion in a graphics program to the finished heading written in this font, the inscription will turn into an absolutely unique and inimitable one. Futuristic set has 23 fonts in the family! Do not limit your imagination, because the font opens up a huge space for creative experiments. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works Letters with color echo & distortion 23 OTF SVG color fonts in the family Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Introducing is a fun and playful pouty Baluno font. Font has embodied the graphic trend of cartoon flat illustrations and will successfully complement modern designs. The font has 2 types of faces, which can be used both independently and together by alternating letters in one word to avoid repeating letters, creating a unique heading. Family is ideal for children's themes, because the font resembles inflated balloons. Creates a relaxed mood and has fun. Set comes in many different carefully selected colors and gradient color options. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Baluno Color" on: ld.luxfont@gmail.com Features: Free Demo font to check it works. 2 types of faces. Lots of ready-made matched colors. Gradient color variants. Kerning. IMPORTANT: - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the other fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

KONZEPT/BESONDERHEITEN
 Der schludrige und raue handgeschriebene Cha­rak­ter, geben der Schrift eine hohe Wiedererkennung und eine gewisse Einzigartigkeit. Das Motto lautet handgemacht, rau und elegant. EINSATZGEBIETE
 Das dreckige, elegante Aussehen der handgeschriebenen Schrift würde sich über fol­gende Gebiete sehr freuen und sich dort dreckig heimisch füh­len: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten­Co­ver, Comic-Cover und Gra­phic Novel Let­te­ring, Pla­kat­ De­sign, Movie-Font, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Überschriften | Auszeichnungsschrift | dreckige Handschrift »elegant hand script«. OpenType Schrift mit 223 Glyphen & 1 Schriftschnitt (regu­lar). Symbole und Ligaturen (mit dia­kri­ti­schen Zei­chen & €)

Eckhardt Relaxed JNL was modeled from an example of a casual, hand lettered alphabet from a page of a vintage textbook. This style of freehand lettering always lends itself well to posters, show card and sign work, but is equally at home in ad design or titling. The typeface is an addition to the group of type styles inspired by sign lettering, and is named for Jeff Levine's good friend, the late Al Eckhardt; whose shop turned out quality hand lettering from 1959 until his passing in 2005. Eckhardt Relaxed JNL is available in both regular and oblique versions.

Demoise is a sans serif font family with 2 versions, a display version (Demoise Play) and a sans serif version (Demoise) containing 14 for each version and complete with italics. This font is styled unique enough to collaborate with the retro style, when you stick it on your designs such as posters, brochures, magazines, business cards or any other shape you will find something interesting and unique. This font is equipped with a multilingual system and various languages such as: Baltic, Basic Latin, Central European, Dutch, Euro, Romanian, Turkish, Western European and others. al European, Dutch, Euro, Romanian, Turkish, Western European and others.

Eckhardt Informal JNL was found in a Dan Solo alphabets book under the name "Circus Wagon". This hand-lettered design with a playful inline is reminiscent of the show cards of the 1940s and 1950s. The Eckhardt series of typefaces is named in honor of the late Al Eckhardt, Jr. - a good friend of type designer Jeff Levine whose talents in hand-crafting attractive lettering was appreciated by many. His work, like the others before him is fast become a lost art in today's technology-driven world. Eckhardt Informal JNL is available in it's regular (inline) version and also as a solid version.

KONZEPT/BESONDERHEITEN
 Der schludrige und raue handgeschriebene Fraktur Cha­rak­ter, geben der Schrift eine hohe Wiedererkennung und eine gewisse Einzigartigkeit. Das Motto lautet handgemacht, rau, Fraktur & modern. EINSATZGEBIETE
 Das dreckige, dicke Aussehen der handgeschriebenen Schrift würde sich über fol­gende Gebiete sehr freuen und sich dort dreckig heimisch füh­len: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten­Co­ver, Comic-Cover und Gra­phic Novel Let­te­ring, Pla­kat­ De­sign, Movie-Font, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Überschriften | Auszeichnungsschrift | Fraktur Handschrift »Modern Hand Fraktur«. OpenType Schrift mit 258 Glyphen & 1 Schriftschnitt (regu­lar). Symbole und Ligaturen (mit dia­kri­ti­schen Zei­chen & €)

Palatino Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is based on the Al-Ahram typeface designed by Zapf in 1956 but reworked and modified to fit the Palatino nova family. The design is Naskh in style but with a strong influence of the Thuluth style as well. This is evident in the swash-like finials and the wide proportions of the letterforms. It is designed for use in print in both large and small sizes. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino nova and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Palatino Arabic wins Type Directors Club award. Each year, the New York-based Type Directors Club judges typeface designs from all over the world in their TDC2 contest. Linotype is pleased to announce that a very new typeface of its own is among 2008’s winners: Palatino Arabic. A collaboration between Nadine Chahine and Prof. Hermann Zapf, this face is an extension of Zapf’s Al-Ahram Arabic type from 1956 recreated to join the Palatino nova family.

Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

A rounded slab in 4 styles In our age, since the arrival of microcomputing, the majority of professional letters have been composed in quality typefaces. Typewriters & the typestyles they used have become antiques. A letter set in Times or Helvetica & printed with a laser printer at 600 dpi or more are of such quality that one can no longer distinguish it with a document produced by offset printing. But letters composed in this way appear overly institutional when a bit of informality is needed. Le Monde Courrier, designed by Jean François Porchez, attempts to re-establish a style halfway between writing and printing. Informal neo-tech style This rounded slab serif returns the informal character of “typewritten” fonts to letters and suit well all bad conditions, from inkjet printed memos to webfonts use. With a unique typographic colour, it integrate itself with the rest of the Le Monde family with effective contrast. The verticals metrics and proportions of Le Monde Courrier are calibrated to match perfectly others Typofonderie families. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

Introducing the charming Modern Siabella Script type of calligraphy inspired by love and joy! Siabella Script with various start and end swash, I hope you are interested in beautiful and aesthetic fonts to perfect your extraordinary project. This font can be used easily and simply because there are many features on in it to contain a complete set of lowercase and uppercase letters, various kinds punctuation marks, numbers, and multilingual support. The font also contains several binders and Stylistic Sets alternative styles for those of you who have software which is able to work OpenType (Photoshop / Illustrator / InDesign). Siabella Script is suitable for the market design developed today, this font has a model trendy, natural and soft, with this font you can use opportunities at every moment from one extraordinary way to highlight the celebration your best party, because this font will be a support for the purposes such as wedding invitations, parties, graduations, birthdays, meetings, and more Please send a message if you have questions. Thank you !