Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. The years from 1945 to 1960 saw a heightened demand for copperplate faces, due to post-war market optimism, as well as the banking and insurance industries booming like never before, which triggered the need for design elements that express formal elegance and luxury. The name Sterling Script is a tip of our hat to England, the Stephenson Blake foundry's country of origin. It is also a historical hint about copperplate scripts having been used mainly for banking and bonds in the 19th century. Originally we just wanted to resurrect a gorgeous metal type from the ashes of forgotten history. But after the main font was done we saw that the original s really needed an alternate. We made one. But we felt sorry for the original s and didn't want to see it dropped from use altogether, so we saved it by building a set of ligatures that solve the minor connection problem with the s at large sizes. Before the completion of the ligatures, a few different alternates were also drawn, and we were faced by the fact that the single font we set out to do was now a much larger set than we anticipated. While thinking about how to split up our unexpected bundle of large characters, we drew a few more alternates and some swashes. This abundance "problem" reached a certain point where there was no looking back, so we just decided to go all the way with this font. We added many more alternates, swashes, ligatures, and two full sets of each beginning and ending lowercase letter. The result is over 750 characters of sheer elegance. Sterling Script has many features that set it above and beyond other copperplate scripts: - It has 2 beginning and 2 ending alternates for every single lowercase character. The beginning and ending variants on the vowels are also available in accented form in the appropriate cells of the character map. - Sterling Script is the ultimate elegant font choice for luxury design. Very elegant, but not too soft. Its strong and confident shapes convey a message that is real, comforting and assuring. - One of the eventual purposes of expanding Sterling Script this extensively was to create a script that finds the middle ground between formal and informal without compromising either trait, a script where the degree of formality can be gauged, tweaked, cranked up or toned down depending on the layout's needs. Aside from beginnings and endings, there are multiple variations for the majority of the basic characters. This is a formal script on steroids, where twirls and swashes can be set to come out unexpectedly from any place in the word, which is great for reducing the inherent rigidity of words set in copperplate scripts and "humanizing" them whenever needed. This is especially useful for wedding, postcard and invitation design, where not every viewer of the collateral material has something to do with banking or insurance. - With such an extensive character set, a designer can easily set a word or a sentence in 10 or more different ways, and choose the perfect one for the task at hand. This is particularly useful for work where details are of utmost importance, like logos, slogans, or elegant engravings that consist of one to three words. Let those swashes and twirls intertwine for maximum elegance. The Sterling Script complete package consists of 7 fonts: Sterling Script, Alternates, Beginnings, Endings, Swashes, Swash Alternates, and Ligatures. Sterling Script is available in five different purchase options and price ranges. But with such a massive offering of variation, the Sterling Script complete package is definitely the most value-laden set in its class. Once you use Sterling Script, you will never want to go back to other copperplates.

A typeface that celebrates marching to the beat of your own drum. Snare is a jazzy little display type that presents like a stencil but behaves in its own way.Featuring angled section breaks and variable heights, Snare keeps each character’s footprint steady as as its heights change, revealing unique crossbars, periscoping capitals and deep-sinking descenders. Because each character follows its own rules, the more each word grows, the more it shows the beautiful rhythm of variety. Or stretch individual characters to shape the contours of your words. Beyond just being playful, fun to dress in colors, and delightfully useful for tight spaces,Snare’s lanky verticals and nervous energy reflect the time it was created. In this second pandemic spring, Snare brings up the drumroll-expectant heartbeat of our uncertainty, and the wish that when we can all meet again, our newfound weirdnesses will find a home in the world. The Snare font family includes one uppercase alphabet with two lowercase variants and comes in ten standard weights-which-are-just-really-heights (.otf) and as a variable type(.ttf) for designers using compatible platforms. Snare was designed by Alexander Wright and In-House International and developed byRodrigo Fuenzalida at FragType. In-House International’s foundry was launched in the summer of 2020 to offer bold, experimental, display typefaces that tell a story. Our previous releases have been featured on Design Milk, DesignBoom, Slanted and all sorts of exciting places.

Introducing Better Times, a handmade brush font! This bold, free-flowing and confident brush font is designed to be easily customisable with 2 sets of each letter and a bonus set of 20 swashes! Oh, and not to mention it looks great in both all-caps as well as lowercase - all of this together providing you with a huge range of layout options. Better Times is a brush font which you can use and enjoy again and again, for anything from promotional material and handwritten quotes, to product packaging, merchandise and branding projects. The Better Times family consists of 3 fonts; 1. Better Times • A handwritten brush font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Better Times Alt • This is a second version of Better Times, with a completely new set of lowercase and uppercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Better Times Swash • A set of 20 hand-drawn swashes, the perfect finishing touch to underline your Better Times text. Simply install this as a separate font, select it from your font menu and type any A-U character to create a swash. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Polish, Indonesian, Filipino, Malay

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

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.

Vakozi is a stunning classic serif font with timeless elegance and alluring modern touch. Able to be the perfect solution for various projects that require an elegant classic modernism theme. Showing the beauty of a well-proportioned serif design, Vakozi presents a visual harmony that captivates the eye. Each letter is exquisitely detailed, creating a look that embodies the luxury and sophistication of a timeless classic. In order to provide flexibility and creativity, Vakozi is equipped with impressive features. From eye-catching ligatures to alternative variations that provide a unique style, this font allows you to express ideas and concepts with complete freedom. In addition, with extensive multilingual support, Vakozi can be used in multiple languages without a hitch. Are you looking for a font that combines classic elegance with a stunning modern twist? Vakozi is the perfect choice. With a stunning classic serif style, creative features such as alternate ligatures and variations, and the ability to support multiple languages, this font will quickly grab the attention of your prospects and provide a stunning aesthetic feel in no time. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

"Introducing 'Stardelle,' a bold and beautifully handcrafted font that adds a touch of elegance to your designs. With its flowing lines and abundant swashes, 'Stardelle' exudes charm and sophistication. This handwritten font is perfect for adding a personal and artistic flair to invitations, posters, branding, and more. Let 'Stardelle' illuminate your creativity and bring a touch of magic to your projects."

Well suited for headlines, packaging and display applications, AE Prosperity will be a robust and versatile addition to your script library. It’s purposefully designed to infer the visual connections of letters for a hand-lettered feel. Some characters will connect, and others will guide your eye to the next letter from, making it highly legible. In 1779, the schooner Prosperity sailed the high seas. Commissioned by a young continental congress, with 6 guns & at twenty tons, she sailed under a Letter of Marque for patriotism and profit. Look lively, because with contextual and alternate glyph sets (contextual glyphs, alternate lower case glyphs and an extended set of alternate capitals), this robust typeface is as inspiring as her namesake and adapts to whatever winds may blow. Prosperity is designed as a free-flowing script, for a spontaneous and historic aesthetic. Contextual glyphs include variations on tt (short and longbar), t longbar, ll, cc and other characters. Contextual features change ascender heights and descender styles. Alternate glyphs (set 1) include variations on b,d,f,g,h,l,o,p,r,s,t,y. Alternate capitals (set 2) include a complete set of alternate upper case letters. Most useful with Adobe® InDesign®, multiple variations of letter combinations can be achieved by selecting Contextual glyphs, and/or set 1 and set 2 from the Character Palette: OpenType: Stylistic Sets menu. Alternate glyphs and contextual characters will be available based on the OpenType support of your application. AE Prosperity™ is available exclusively in OpenType format.

Sevigne [sey-vee-nyey] is a highly refined, contemporary geometric sans, inspired by the ambience of high-end fashion and luxury. The inclusion of over 130 unique ligatures expand its sensibility of alluring, well-balanced letterforms and distinctive style. Stylistically, as an all-caps typeface, Sevigne exudes a greater sense of harmony and polish due to its unicase form where the interplay of a limited amount of characters is the focus. Subtle, considered details are found within individual letters, contrasted by the complex, intersecting forms that make up the various ligatures. With multiple stylistic sets added to the expanded ligatures, individual letters and ligature pairs can be carefully exchanged to fine-tune text settings for a unique custom type solution. Features include: Precision kerning- Expanded set of over 130 Ligatures, including alternates (ae, oe, fi, fl, ffi, ffl, ffj, ff, fh, fj, ft, tt, th, ct, st, oo, og, go, ogo, gog, la, ea, ev, ew, fy, ez, et, oc, ga, do, uv, vu, yu, uy, nn, mm, xy, yx, ao, oa, ac, da, aq, nt, aa, ll, ss, ut, tu, ka, ca, ag, of, off, co, ne, nr, nl, nd, nk, hn, mn, me, mp, al, an, af, ar, ak, ah, ad, ab, and, gg, all, co, ço, he, the, tl, tn, tf, tr, tk, td, tb, te, am, ame, amb, tm, ap, tp, wu, uw, kt, tz, ra, za, mk, xx, yy, vv, ww, ky, fu, oq, cc, cq) Alternate characters (A, G, R, Q, Z, _, $, ®, •, ¶) 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.

To design Mr Black, we used old ('70-'80) dry transfer lettering sheets that were used by my grandfather who was a military cartographer. We had only two almost used-up sheets. The letters didn't transfer so well but we liked the way they were damaged. All of the characters have a very high resolution so they can be used in a large scale. Mr Black doesn't have lowercases but has up to three alternate uppercase for each letter. Checkout Mr Tiger if your looking for lowercase letters with the same distortion effect. We designed it for our book for children, “Who eats Whom”

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. Imagination and variety of shapes, which so far have been reserved only to the fine arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery - they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the first time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the flaps and in the imprint lines. Bold upper-case letters in the first line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque title-page could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book - a typographical manual. Among these manuals the one published by Fournier stands out - also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words - Baroque typography deserves anything else but the attribute "transitional". In the first half of the 18th century, besides persons whose names are prominent and well-known up to the present, as was Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our firm principle. Does it mean, therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is child's play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a fixed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in today's modern type designer's nihilism.

For many years I had repeatedly written names on certificates or designed texts for certificates of honor with a pen. I later digitized a font written with a broad pen from 1988 to make it easier to use. After the technical possibilities for this had developed, I made a PostScript font out of this document font. The "HGB-Unik" is a humanistic antiqua that arose from this written type. In 2009 Unik was chosen as the text font for a book. However, the book designers wanted to have an italic and a bold style as well. The cursive was developed from written texts that I also wrote for various occasions in the 1980s. The resulting font family was thoroughly revised several times until a usable text font with four weights was created. Although the Unik looks very idiosyncratic in display size, it shows a surprisingly balanced, pleasant typeface in read size.

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

Have you ever used a handwritten font on your design project? Have you ever felt bored or dissatisfied with its glyphs style that looks stiff and doesn't flow even doesn't really characterize the peculiarities of a handwritten font? Or fonts that don't have alternative glyphs so they look monotonous in a word or even sentence. And in the end, it makes your projects so far from your expectations, even your clients. It's so frustrating, isn't it? Just wake up from your dissatisfaction and this is your time to make a good choice for your design project. So, we have a solution to fix it. We introduce 'Stylish Classy' just for you. This is a font that really characterizes from the handwritten style. This font is crafted carefully in every its single scratch, created to look as close to a natural handwritten script so that it can create the perfect combination on each glyph. When we make this font, we really want to create a touch that is so free-flowing that it gives a natural impression on its use later. For example, if you want letter 's' that has a flow sketch with letter 't', you can find it in 'st' ligature glyph. So if you really want a so natural and flowing touch in your project, Stylish Classy Font gives you 210 Natural Ligatures ( combining of two or more letters in a glyph ), Two Alternates, and Slant Version. Stylish Classy is a fashionable handwritten script font and obviously it's so Stylish and Classy :) Stylish Classy Font offers beautiful typographic harmony for your design projects diversity e.g. logos & branding, wedding designs, social media posts, advertisements, product designs, quotes, watermark, photography, poster design, magazine, stationery, or simply as a stylish text overlay to any background image. - Included Languages support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, German, Icelandic, Indonesian, Italian, Norwegian, Malay, Portuguese, Spanish, Swedish, Zulu. - All Natural Ligatures (210 Glyphs): Bh Cl Cr Cs Ct Cy Hy Jh Ji Kh Kl Lo My Mrs Mr Mt Si Sl Sp Sp St St1 St2 St3 Ul1 Un1 Ut1 Ul Un Ut Wh Yo aa ab ab1 ab2 ak1 all ant app arr art ask ast at at2 at3 at4 att af ah aj ak ak1 al al1 an ap ap ar av bb1 bb cc ch ck co ct dd ever ee1 ee2 ent er1 err ett ee ek el en er es et ff1 ff2 ful ff fi gg1 gh gh2 ght gn1 gf gg gh gi gl gn hh ight ill1 ill2 it's itt1 if1 ill ion ism it1 it2 ith itt ity if ii il it jj1 jj kk ll1 ll2 la lh ll most nt oll on2 on1 op1 ops or1 orr oth ous of oh ok ol om on oo op or ot ow ox oz ph pp pt rk1 rta rk rr rt sl1 sl2 sl3 ss1 ss2 st1 st2 st3 st4 st5 st sh si sl sp ss st the tt1 tt2 th to tt tv ty ull ure ut1 ut2 ut3 us ut ve vs wh wt yl1 yl2 yl3 you yr yr2 yl yn yr mm1 mm2 mm3 mm ms nn1 nn -Swash on pictures are not included

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Emily Cute is a cute lettered handwritten font that is easy to read and joyful. You can use it for various projects, such as blog posts, logos, branding, ads, invitations, greeting cards, planners, photo albums, decorations, and much more. Add it to any of your designs, and enjoy the results!

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 type design. Originally available in one bold weight, the metal typeface came in three slightly different widths for flexibility in copy-fitting layouts.  ATF Alternate Gothic has impact at any size. Its letterforms are instantly familiar: Benton’s original metal type family was used throughout the 20th century in newspapers, magazines, and advertising, providing “strong and effective display” in a compact space. Monotype issued its own metal version for machine typesetting, and Alternate Gothic likely served as inspiration for Linotype’s ubiquitous Trade Gothic® Bold and Bold Condensed. ATF Alternate Gothic expands on the characteristics that perhaps made Trade Gothic so popular, providing a wider range of weights and widths to address the needs of today’s designers and technologies. The space-saving clarity of ATF Alternate Gothic brings readability to the world of advertising typefaces. With its finely graded range of ten weights, with four widths of each weight (40 fonts total), this extensive type family can be used to pack a lot into a narrow space, and the range makes it easy to create variations of an advertisement or announcement for different formats and media. The tall x-height and narrow proportions, combined with a relatively low waist and springy, tension-filled forms, make ATF Alternate Gothic strong and effective in display. All ten weights have been carefully spaced for readability, caps and lowercase work well together, while attention-grabbing all-caps settings are clear and never crowded, no matter how narrow.

This is the 200th font released by CheapProFonts, and again I wanted to make something special - so I have chosen to upgrade another well-known font by the infamous Fredrick "Apostrophe" Nader: Amerika! The whole character set for this stylish font has been polished for consistent baseline placement and serif thickness, and proper overshoots has been implemented. All the alternate letterforms (and some new ones) have been included as OpenType alternates AND they have now been made available with accents, too! The Greek and Cyrillic letterforms are properly encoded and kerned. I hope many will enjoy the improvements - and naturally: it is still free! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Groundage is a Gothic Blackletter font that offers three styles: Outline, Regular, and Shadow. With its bold and clean calligraphic strokes, this typeface boasts a modern-vintage look that exudes elegance and masculinity. Its Y2K-inspired design makes it perfect for stylish posters, marketing materials, logotypes, and headlines. Additionally, it is great for art and craft projects, y2k-streetwear designs, and much more. What sets Groundage apart from other Gothic Blackletter fonts is its unique combination of traditional and modern design elements. Its clean lines and bold strokes give it a contemporary feel while its Blackletter roots pay homage to its historical origins. Groundage also includes both Latin and Cyrillic character sets, making it a versatile option for a range of projects. This font pairs well with other modern-vintage fonts and looks great alongside sans-serif fonts for contrast. Its three styles allow for versatility in design and can be used for a variety of creative projects. Groundage was designed with the intention of creating a stylish, masculine font that could be used in a variety of contexts. Its Y2K-inspired design concept was chosen to evoke nostalgia while still feeling fresh and modern. The combination of traditional Blackletter elements with a contemporary twist creates a unique aesthetic that stands out from other fonts in its category. Groundage is not based on any historical design, but its Blackletter roots pay homage to centuries of typographical tradition. Its modern twist on the classic Gothic style creates a unique and versatile font that can be used in a range of creative projects.

A playful caricature of a midcentury grotesque, Guzzo is a fresh addition to the Monotype Library. Somewhat eccentric and full of surprises, its unmistakable quirk can be found on closer inspection, stemming from details proudly borrowed from brush lettering and calligraphy. The wide range of weights and style can take you through any design space, from the condensed weights squeezing in larger headlines or dense blocks of text with the condensed range, to experimenting with small point sizes, labels or packaging with the extended cut. However, Guzzo’s real charm is probably best expressed through its wonderfully playful shapes, its unusual 'laid-back italics' feature cursive forms and a backslant. The different stylistic sets allow you to decide what you make of Guzzo, with several sets of alternate glyphs steering it in any direction you want. Guzzo is a happy-go-lucky character, and has a warm, humble and painterly quality that - at a glance - may be unrecognizable as a typeface. It can almost pass for hand-lettering. Guzzo pairs exceptionally well with scripts and slab typefaces, and feels most at home in situ with toys, packaging, menus, broadcasting, cartoons and merchandising! Guzzo encourages you to turn up the silliness and is for designers who want to emulate hand-painted and casual motifs. Taking its name from American artist Jeremy Pinc, aka the painter Guzzo Pinc, the typeface channels the quirky, funny and poignant qualities of his paintings - with wacky characters, loosely painted geometric forms and bright colors. For this mid century, authentic, nostalgic typeface - the story is really what you make of it.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole SC Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version of their logo, and from there we expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include smallcaps, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole SC Family bundle: 489 glyphs per style - including Capitals, SmallCaps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole SC Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version fo their logo, and from there expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole Family bundle: 489 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Introducing Daily Sans, a complete sans serif font family with 10-weights, plus italics (20-fonts total). Daily Sans was designed to be an everyday-use geometric typeface with excellent legibility and a neutral tone. It's a perfect go-to for branding, web, and print design projects and can stand out on its own or play a supporting role in font pairings. It’s great for body/paragraph type as well as for larger display type. Because the goal was to create a font you can truly use for any project, purpose, or occasion, Daily Sans includes a wide range of weights starting from the very thin Hairline all the way through to the very bold Heavy. This means that you’re always able to find just the right weight for your needs, and it makes creating type hierarchies a breeze. Daily Sans comprises 20 fonts, each with approximately 450 glyphs - including 16 standard and discretionary ligatures, three ampersand variants, a full set of arrows, and more - and supports over 200 languages. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu.) PLEASE ENJOY! I can't wait to see what you make with Daily Sans. Feel free to use the #upupcreative and #dailysansfont tags to show me what you've been up to.

An Art Deco, script inspired typeface for 'modern' times, Pauline Didone is a full type family with a unique and flavorful design. It has a sense of femininity and naïveté that comes from its predecessor, Pauline. It's a typeface useful for short bits of copy, logotypes and interesting titling. This typeface family of 10 different fonts includes 5 weights and their italics and a wide range of OpenType alternates. The original Pauline was inspired by and has a strong influence from retro scripts. The typeface is geometric, formed with deliberate contrasting brush strokes and a ostentatious flair. Pauline Didone's high contrast strokes give it a very interesting look that is up to date with latest design trends and very useful for today's design environment. Pauline Didone pairs nicely with the original sans-serif Pauline. The typeface family also includes a full array of alternate forms, including over 150 alternate characters. These alternates can be accessed by activating OpenType features and style sets. Note: In order to use these OpenType features, you will need a program with advanced typography capabilities such as the Adobe Suite or Quark. These alternates also include a group of ball terminals that can be accessed under the swash alternates. Pauline Didone is the latest in a trusted line of typefaces from insigne. Why settle for the ordinary when you can choose Pauline Didone to lend its unique look to your art work?

Lycia (Lycian: 𐊗𐊕𐊐𐊎𐊆𐊖 Trm̃mis; Greek: Λυκία, Lykia; Turkish: Likya) was a geopolitical region in Anatolia in what are now the provinces of Antalya and Muğla on the southern coast of Turkey, bordering the Mediterranean Sea, and Burdur Province inland. Known to history since the records of ancient Egypt and the Hittite Empire in the Late Bronze Age, it was populated by speakers of the Luwian language group. Written records began to be inscribed in stone in the Lycian language (a later form of Luwian) after Lycia's involuntary incorporation into the Achaemenid Empire in the Iron Age. At that time (546 BC) the Luwian speakers were decimated, and Lycia received an influx of Persian speakers. Ancient sources seem to indicate that an older name of the region was Alope (Ancient Greek: Ἀλόπη, Alópē). Lycia fought for the Persians in the Persian Wars, but on the defeat of the Achaemenid Empire by the Greeks, it became intermittently a free agent. After a brief membership in the Athenian Empire, it seceded and became independent (its treaty with Athens had omitted the usual non-secession clause), was under the Persians again, revolted again, was conquered by Mausolus of Caria, returned to the Persians, and finally fell under Macedonian hegemony upon the defeat of the Persians by Alexander the Great. Due to the influx of Greek speakers and the sparsity of the remaining Lycian speakers, Lycia was rapidly Hellenized under the Macedonians, and the Lycian language disappeared from inscriptions and coinage.

Introducing our UPDATE "Holiday - Script Handwritten Font" Two years ago we created a script handwritten font that we named Holiday, we didn't expect, hundreds of designers have use the Holiday font, this is really cool font. And today, we've been working hard to make this Holiday font even better, it's the best script handwritten font we've ever made, we've named it Holiday2. Holiday2 - Script Handwritten Font is a handwritten script font with a simple and classy style, this font is great for your next creative projects such as branding, watermark on photography, signature or signature logo design, quotes, album cover, business card, and many other design project. From business cards to photo watermarks, Holiday2 is here to elevate your work to the highest level. However, we still included our old Holiday font, we created Holiday2 to be easier to read and of course with a better design and clean. Holiday comes with uppercase letters, lowercase letters, lowercase alternative letters, numbers, punctuation, ligature and multi lingual support To use alternative end text is just block end letters and select alternative letters on glyphs option. it may be used in almost any program by using your Operating System’s utilities (CharacterMap for Windows and Font Book for Mac.), as well as Illustrator, Photoshop CC 2017 and several other applications. we hope you enjoy this font. If you have any questions please don't hesitate to drop me a message :) Thank you, Best regards alphArt

Say hello to Qene-G Typeface, Qene-G is based on a problem that often occurs when I design, which is to combining typefaces in typographic art. I am pretty sure you also in this problem, so Qene-G Typeface comes to solve the problem. Qene-G is a complete package consisting of serif fonts and signature scripts. A careful approach makes this font give a luxurious and elegant taste to your project. Smooth curves, some flowy terminals, and flirty tails will make your project looks unique. The handmade signature combination emphasizes the style that you create in the natural beauty atmosphere. Qene-G consists of 5 families, they are Qene-G-Regular, Qene-G-Regular Italic, Qene-G-Outline, Qene-G-Outline Italic, and Qene-G-Script. You will get all caps letters with 2 styles that you can access via uppercase and lowercase buttons, charming script fonts, and tons of ligatures and stylistic alternates. Complete with Unicode and PUA which allows you to access all features without graphic design software. Your project will travel around the world with 131 languages ​​of this font. Qene-G is a strikingly versatile font, It is a bold choice for branding projects, fashion magazine imagery, social media text overlays, posters, website headers, and more. Let's start creating stand out designs with this font. We are pleased to tell you about our newest product made with totality, please CLICK HERE

Are you looking for a unique signature font to show your style? We have the right signature font for you. This is the Signatires, our signature font to help you create a visually amazing signature. This font is carefully designed to express elegant, dazzling characters which also helps you deliver your messages easily. Signatires’ contrast is high with swinging end wipes. Furthermore, its legibility is so great that it is suitable to apply for any text sizes. You can enjoy the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Signatires fits best for various design projects, such as brandings, posters, banners, greeting cards, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.