Splendor was originally produced and released in 1930 by Schriftgu� AG, Dresden. The typeface was designed by Berlin designer Wilhelm Berg. Ralph M. Unger, who in the last few years has created a whole series of revivals and redesigns from the hot metal era, ?retrieved? this jewel of a typeface design, redesigning, complementing and digitally remastering it for profonts. Splendor is a broad nip, non-connecting handwriting script of timeless elegance, charm and beauty. It needs tight setting with plenty of space around it. The font contains a number of alternate characters: Two uppercase As, Ss (with descender); in addition, two uppercase Ms, Ns and Zs as well as two lowercase zs.

Splendor was originally produced and released in 1930 by Schriftgu� AG, Dresden. The typeface was designed by Berlin designer Wilhelm Berg. Ralph M. Unger, who in the last few years has created a whole series of revivals and redesigns from the hot metal era, ?retrieved? this jewel of a typeface design, redesigning, complementing and digitally remastering it for profonts. Splendor is a broad nip, non-connecting handwriting script of timeless elegance, charm and beauty. It needs tight setting with plenty of space around it. The font contains a number of alternate characters: Two uppercase As, Ss (with descender); in addition, two uppercase Ms, Ns and Zs as well as two lowercase zs.

British type designer Chris Burke created this serif FontFont in 1994. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for book text, editorial and publishing as well as logo, branding and creative industries. FF Celeste provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Celeste super family, which also includes FF Celeste Sans and FF Celeste Small Text.

MFC Nadall Medieval was originally designed by Bernard William "Berne" Nadall for Barnhardt Brothers & Spindler back in 1885 under the name "Faust Text" and later under the "Missal Text Series". While you could use its capitals to construct an initial monogram, this is not a monogram font, but instead a fully functional typeface for invitations and period lettering. This lettering style has been precisely recreated and expanded on to create a full typeface with a small collection of ligatures. Here's what's included with the MFC Nadall Medieval: - 397 glyphs in MFC Nadall Medieval - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the last graphics for a preview of the characters included) - Ornaments - two ornament glyphs. - Ligatures - for ff, fi, fl, ffi, and ffl combinations.

Introducing Arkais, a glyphic serif typeface inspired by the rhythmic construction of Gothic architecture. This unique typeface is characterized by slightly broken shoulder and bowl shapes, offering a fresh and classic feel. With contrasting brackets, consistent barb, and beak shapes, Arkais brings a touch of elegance to any project. Arkais features five weight variants—light, regular, medium, bold, and extra—as well as three width options: condensed, normal, and expanded. Each font family also includes italic styles, providing even greater versatility. Equipped with OpenType features, Arkais offers multiple character alternatives, ligatures, small caps, and more, ensuring a tailored look for your designs. Designed as an alternative to current trends, Arkais is perfect for creating strong headers or captivating display text. The typeface supports over 500 basic Latin glyphs, making it suitable for a wide range of projects.

From the abyss and the quarantine hell, drawn in absolute lonelyness, and finished during the darkest hours of confinement… "Guau" is born, the type that barks directly at your face! "Guau" is a high-contrast display font with as many weights and versions as there are types of puppies in this fantastic world. It is thought to bring up glances in middle and heavy boxing weights, although you can also take its compressed and italic styles just for a walk. "Guau" is a font with three axes (italic, weight and width) and 20 instances, and it also contains thousands of glyphs and Opentype features that means a "guaorld of posibilities". This name comes from the time when you could only go to the street to take a walk to your pooch. Definitely, "Guau!, your new best friend!".

Mottle is a strong, chiseled typeface made to help you stand out from the crowd. Gnarled after patterns found in nature such as marble, tree bark, and the brindled coats of animals, Mottle exudes a unique, natural, yet man made look. Great for display use such as logos, movie and album covers, and signage, Mottle gives off a feeling that is old yet new, gothic yet modern. Mottle supports over 30 languages, featuring over 400 glyphs and 500 OpenType kerning pairs. The Dollar, Euro, Yen, and Pound symbols are included, as well as Extended Diagonal Fractions support, and the Estimated Symbol. Language support for Basic Latin English, Western European Diacritics, Afrikaans, Basque, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, Gaelic, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Romanian, Saami (Southern), Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, and Turkish.

An uppercase font that has versatile character. Got a story to tell? Cowgirl can help you tell it. Includes western-themed vector illustrations handmade by Meg Burk. I grew up spending almost every family vacation as a road trip across the southwestern US. In these adventures, I fell in love with learning about the nature around us; deserts, mountains, plains, piñon trees, rainbow trout, black bears, eagles, and more. I fell into freezing cold white water rapids, explored long-abandoned cliff dwellings, camped under the Milky Way, saw old cave markings, stone markings, preserved art, and read many a many old map legends. These memories are visceral and the inspiration that I get from them permeates my every day. Take a piece of these stories with you and use them in your designs, too. Handmade, meant to last a lifetime and inspire others for decades to come.

P22 Graciosa is a five font family based upon designs for a metal type by Carlos Winkow (1882–1952), a German type designer who lived and worked in Spain in the early 20th Century. Graciosa is a sort of hybrid blackletter/text font, with simplified blackletter caps and a serifed lowercase with subtle script flare. There is a Regular, Black, an open version called White, and an engraved version called Gris. The version called Multi serves as a fill font to allow for multi-colored layering options. A revival of these designs was initiated by Matthias Beck in 2015. The character set was expanded for use in 21 languages (OpenType Standard). The digitization and reintroduction of these old fonts—created in Spain and practically forgotten—makes them regain a new life. This project was subsidized by the Spanish Ministry of Education, Culture and Sport.

Batman & Robin! Thelma & Louise! Butch Cassidy & The Sundance Kid! Hip Flask & Farrell! Frodo & Sam! Sonny & Cher! Calvin & Hobbes! Bert & Ernie! Dynamic Duos exist in all forms of literature & entertainment, and now Comicraft is proud to introduce its latest alliterative offering, DYNAMIC DUO! A buddy movie in font form, Dynamic Duo is a team-up of Solid and Open weights who can’t decide who is the lead and who is the sidekick! In the fine tradition of all two-in-ones and company-wide comic crossovers, first they fight and then they team up — to take your design on the biggest, loudest, most intense adventure of All Time. Dynamic Duo features comic-book style hook caps and alternate uppercase letters which automatically cycle for a more natural, hand-drawn appearance. Solid and Open weights can be layered to create chromatic effects, and matching variable fonts allow near-infinite control of weight and slant. Each weight contains 478 glyphs and supports 220 languages. Comicraft fonts are created BY comic book letterers FOR lettering comic books. Accept no substitutes! Artwork by Axel Medellin from Elephantmen #73

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

Core Slab M is the serif companion to Core Sans M (Text family of the month. May, 2013). This font family has open and square letter shapes, and overall rounded finishes and serifs provide a soft and friendly appearance but also it is strong in headline. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Slab M Family consists of 2 widths (Condensed, Normal), 7 weights ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Combination fonts such as Core Slab M Ice, Berg and Iceberg are also available. Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Carlino is named after the cutest dog on earth. Why? Because it’s the cutest font ever made. Especially intended for stationery use, it’s loaded with lots of alternates and ligatures, not only in the lowercase but in the uppercase. All of them are Open-Type programmed, so the possibilities of having something unique are endless. Following nowadays trend, Carlino is a multi-layered font: shades, holes and dots were made to work alone or all together with fantastic results! The way it works is so easy that It’s impossible not to enjoy it: Just type a word; then the same one set in another style and voilà! The font has also a lot of sweet ornaments to embellish your projects. Find inside: hearts, fleurons, party icons, flags, and the funniest animals. To accompany Carlino, there’s nothing better than Carlino Capitals. Its cute flavor makes everything more lovely. Have fun with Carlino and oh! don't forget to feed this little pug or it will bark all day long! Special thanks to Maximiliano Sproviero, whose advice helped me make this dream come true.

Capitaly Script is a bold calligraphic typeface. Created with pride and care, this lettering has the optimal appearance of a classic vintage logo, for a modern setting. The font family consists of the styles Script (Regular) and Top (Upright). Use asterisk * after a letter to make a swash letter. Example: Ber*lin Use _ or # or ¤ after any word to make a swash tail. Example: Cursive¤ Letters_ Use multiple _ # ¤ after any word to make swashes of different length. Example: Decorate______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Anziano follows the direction staked out with Delicato. When creating traditional typefaces, it is inevitable to be influenced by earlier designs. Anziano does show touches of another classic typeface – Weiss (by Emil Rudolf Weiss, 1926). Weiss is often misjudged and overlooked. Perhaps the most well known Swedish typeface – Berling (by Karl-Erik Forsberg, 1914–1995) is actually based largely on Weiss. MRF have appreciated the design of Weiss uprights for a long time. When Stefan Hattenbach bought the first Swedish edition of The Lord of the Rings (1959–61), in 2004, he was amazed by the excellent flow of the text presented on each page. Despite the very original character that Weiss has, it was a pleasure to read a book set in such a typeface. MRF realized that several major foundries had already done interpretations of Weiss, more or less true to the original. MRF didn’t want to add on to that list! Instead Stefan tried to find his own path. Anziano consists of three core styles, Regular, Italic and Bold; each with small caps, ornaments, stylistic ligatures, and extended Latin accents. Lining, tabular, oldstyle and smallcap numerals help round out Anziano’s typographic range and function.

Gabby is an authentic handwriting of a First Grader. I took all the papers from her backpack during her first grade year and scanned in various letters, cleaned them up, and turned them into a font. This font is how I captured memories of my daughter's handwriting. This font is perfect for projects requiring the handwriting of a child, such as kid-friendly t-shirts and school projects. Comic Sans can move over because Gabby is readable and authentic. Unlike many decorative fonts, Gabby works well in All Caps or Caps and Lower case. The license allows creative and commercial use, meaning you can use this font on t-shirts, marketing gear, and just about any project you want to do, whether you make money or not. The only stipulation I have is try not to be a jerk with the font. This is my daughter's handwriting, and we would both cringe if we discovered it was used to bully or threaten people. The license attempts to protect religious icons and the US Military, but overall, just don't be mean with the font. If you want to be mean, try Comic Sans.

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

Taglio’s name is derived from intaglio, which means “incised carving” or “an impression from an engraving”. Indeed, Taglio looks like an incised engraving with a contemporary calligraphic interpretation. The down strokes start with a single horizontal line that curves into a dual vertical line and ends with the same single line at the base. The dual elongated strokes create a bold overall impression but is literally twice as sophisticated than if the two lines were solid. That was exactly the goal in creating this font. We managed to create a font that is distinctive, elegant, and crisp that is also intentionally stencilled for more flexibility. For instance, it is ideal for laser cutting signage. One of the unique features in using the capital glyphs is that they stack perfectly without losing legibility, primarily because of the slanted ends of the dual vertical lines - see the example “Miami Fashion Week” display ad. Taglio’s unusual style was carefully crafted to come to life at display sizes. It is therefore ideal for use in branding fashion, restaurants, buildings, packaging, museums, signage, etc. An ideal pairing font is our WERK family which can be seen on some of the display ads below. Taglio has a sparkling and sophisticated personality that will absolutely delight!

From the standpoint of calligraphy, a font family of capitals and uncials makes perfect sense. The Roman square capitals, the quadrata, are matched by round capitals of older Greek origin; the word "uncus" means hook-shaped like a beak or talon. Interrelated and often interchangeable, these capital letters served as book hands for both the Latin West and the Greek-speaking East before they evolved into minuscule alphabets. The Testament family is based on the few formal capital manuscripts of the Bible, Virgil and Homer that have survived from the ancient world. Throughout the Middle Ages both uncials and square capitals were used, often together, for headings and initial characters. By their nature the Roman capitals are the voice of Caesar and hold the place of authority, while the uncials speak for the Church in a balanced relationship. In ancient times church and state were not as separate as they are now, and the alphabets were not as different as typographic tradition has made them. In this calligraphic rendering it is clear that they are of the same substance and can be written in the same style, conveying even to the modern eye the eternal and classical quality of epic and scripture. Testament comes in all popular font formats, and includes support for a vaster-than-usual range of Latin-based languages.

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Enocenta is fully featured script face. Like a wild, untamed beauty in the moonlight, Enocentaís flowing calligraphy dances across the page. This contemporary typeface is not slavishly devoted to convention, and instead it defies it repeatedly. The face has bit more character than most high contrast script faces and attracts your readers eye. This spicy and flavorful collaboration between Jeremy Dooley and Cecilia Marina Pezoa. Enocenta is a five weight script typeface that offers a variety of options for you to design beautiful things. Enocenta is friendly and warm, and it's hairline weight is simple and clean while its bold is strong and draws attention. Its contemporary appearance is right home on the web or wherever your canvas may be, whether that is packaging, magazines and invitations. It's also a fantastic choice for branding and can be quickly converted into a distinctive logo when applying its options to customize the look and feel so the brand is unique. Enocenta is packed with alternates, swashes, ligatures, and also other techy perks. To discover its complete feature set, please use it with software that supports OpenType options for sophisticated typography. There are a number of purchase options for the face. The Pro fonts are loaded with the full set of alternates, ligatures and ornaments. The Standard types are contain no decorative alternates but are an affordable starting point for designers that don't need the full features.

Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les Misérables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope. This description was sourced (in part) from Wikipedia, the free encyclopedia.