‘Skiart Serif Subtle’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, all be it on the small side. Skiart Serif Subtle is less of a serif than Skiart Serif Mini, in that it doesn’t have actual 'serifs' as such. It has a subtle flare where a serif might normally be found. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font families. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Subtle’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Subtle’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double-storied versions in fonts such as ‘Times’ etc.

t can be complicated to create unique, attractive designs for your latest projects especially when you are left with an abundance of boring fonts because ordinary fonts make your designs less prominent, unattractive, and unprofessional. Therefore, we would like to introduce you to Hello the Dog. Hello the Dog is a display font with cute, charming characters inspired by a dog theme. All of its letters and characters are created in a cute way that portrays a dog’s characteristics, such as long ears, big eyes, and a cute nose. It has various sizes and variations ranging from uppercases for title displays and lower cases for softer text displays. Hello the Dog font, of which available features and a clipart bonus you can enjoy, will live up and charm your designs in order to attract the audience with the theme you have. In fact, it will also help you build up your brand identity to be unique and memorable, particularly brands related to dogs or pets. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Hello the Dog fits best for various design projects, such as brandings, headings, 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.

Introducing the stunning "Soft Mouth Victorian Typeface," a font that encapsulates the essence of Victorian elegance. This font style exudes an air of refinement and opulence, perfect for adding a touch of grandeur to your design projects. The "Soft Mouth Victorian Typeface" offers a versatile range of options with its four font families: Regular, Hole, Ornament, and Serif. The "Regular" font family serves as a reliable choice for everyday text, providing legibility and clarity. The "Hole" font family adds a unique twist, featuring intricate designs with hollowed-out letterforms, creating an intriguing visual effect. The "Ornament" font family boasts exquisite decorative elements, allowing you to embellish your designs with ornate flourishes. Lastly, the "Serif" font family offers a classic and refined aesthetic, perfect for evoking a sense of tradition and sophistication. This typeface includes a comprehensive set of ligatures and alternates, enabling seamless connections between letters and enhancing the overall flow and visual harmony of your text. With an impressive collection of 666 glyphs, you'll have an extensive range of characters and symbols at your disposal, allowing you to unleash your creativity and experiment with various typographic compositions. Whether you're working on elegant invitations, branding projects that require a touch of vintage sophistication, or creating elaborate typographic artworks, the "Soft Mouth Victorian Typeface" is a must-have resource. Its Victorian elegance, extensive features such as ligatures and alternates, a rich collection of 666 glyphs, and the added bonus of frames and floral embellishments, make it an invaluable asset for bringing a sense of timeless charm to your creative endeavors.

Wonder Brush is a display typographer's guilty pleasure. It's one of very few fonts ever made that can take intense abuse and still look natural. Partly based on a 1969 Friedrich Poppl design called Poppl Stretto, but considerably fused with ideas found in interwar magazine ad lettering and signage, Wonder Brush caters to the idea that most graphic designers would rather use design elements they can enjoy. When you spend your days being "challenged" and "creatively tested" and "communicating the message," you can definitely use a little bit of playtime. And this font gives you just that, playtime on the job. Wonder Brush appears to be a straightforward narrow upright brush script. But it really is made of malleable rubber. Take it into a program like Adobe Illustrator, set something, stretch or squeeze, shear or warp, slant or transform… just play with it like they used to do in the 70s and 80s. You will soon discover that this font really is a big old top hat, and it's up to you and your mischief to pull rabbits or geese out of it. A single font that allows you to emphasize content or manage space mechanically without affecting the integrity of the type setting. And if your playtime includes fiddling with OpenType features, you're in for a bonus treat: Wonder Brush comes with over 800 characters, including a lot of alternates and extended language support. So tweak away until your eyes cry with joy. The only rules are the ones you set, and even those are meant to be broken.

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

Boardwalk Avenue Rough is a textured version of Boardwalk Avenue. It’s a robust type collection of three styles and two weights of each. It’s divided into Boardwalk Pen, Boardwalk Antiqua and Boardwalk Serif. Boardwalk Avenue’s core is a connected mono linear script that works fantastic when paired with either of the impressive serif styles. All the fonts work great on their own but try putting them all together for a complete display font setup for a project. Here’s a short introduction on what’s included: Boardwalk Avenue Rough Pen is a connected Script. It’s great for headlines, quotes or in packaging. It has a casual hand drawn vibe to it but it’s clean and legible. It’s equipped with automatic Contextual Alternates that keep the connections smooth and versatile. For instance when you type double letter another of them will automatically change to add variation. Or if you type “i” for example, as a first letter after space or after capital letter the code will add starting point to the letter to keep the letterforms more balanced. If you need more ambitious letterforms you can try Swash or Titling Alternates -there’s alternates for every standard letter and seek for even more alternates from the glyph palette. Boardwalk Avenue Rough Antiqua is a high contrast serif with strong character. It’s great for glamorous headlines or as a logotype. Boardwalk Avenue Rough Serif is a low contrast serif with bulky character. It’s great for strong and sturdy headlines or as a logotype.

It is significant to have a unique font to create impressive, impactful designs because people often forget common things which may cause your work to be forgotten as well. You may have lost your candidate customers even before they know your brand and product. Let us introduce you to Chocoball, a font with firm impressions to protrude your designs. Chocoball is an uppercased display font designed in playful, modern concepts. It has firm, attractive impressions because of the inclined square letter shapes making it more unique than the others. Furthermore, it can show off your desired messages on your designs easily with the use of the uppercases. Besides, this font is able to build up a strong, recognizable brand identity. A playful display font is flexible and suitable for various design types as its advantage because it is applicable for either formal or informal designs producing interesting, consistent results. You can apply Chocoball, which gives you a clipart as a bonus, for big text sizes to be legible. You can enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Chocoball fits best for various design projects, such as brandings, posters, banners, headings, 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.

TT Geekette is an experimental variable* serif with friendly and flexible character of shapes. In this project, we wanted to get away from simplifications and dry geometry and to experiment with the smoothness, softness and plasticity of forms. And in order to make the project a little more stylish and serious, we decided to make the font monospaced. When creating TT Geekette, we did not rely on traditional writing techniques or on the influence of pen movement on the font pattern. Despite the fact that judging by certain characters TT Geekette is a serif, the font is specifically “built” and “drawn”. There are several systemic techniques in font design, such as “loops” which set the plastic rhythm for the entire typeface. Variability in TT Geekette is influenced by contrast buildup in the font—moving the slider to adjust the variability axis, you gradually move from a completely non-contrast monolinear serif font to a font with a pronounced reverse contrast. In addition, with the help of the variability slider, you can remove serifs from the monolinear essence of the font. The TT Geekette family consists of 3 styles: the TT Geekette Bones—monolinear font, the TT Geekette Muscles—reverse contrast serif, and the TT Geekette Variable font. Each style contains over 450 glyphs. And yes, technically the typeface can be used in programming, at least you are guaranteed to get your share of bright emotions. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/

A free-flowing brush script with only uppercase letters. Now with a professional and multilingual character set! Vic Fieger says: "The letters in Edo were hand-drawn using a thick black permanent marker with a flat head. The head was chopped up using a box cutter to create a "brush" effect. The entire font was made while watching Bobobo-bo Bo-bobo. Edo has been used by video game-makers UbiSoft in their game adaptation of the 2007 animated film Surf's Up, as well as ads for the Fuse 2006 Warped Tour. More recently, it has turned up in such places as the cover for the US release of the manga Teru Teru x Shonen, and the logo for A&E's program, "The Cleaner." 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.

Add a little sparkle to your designs with Crystal Sky! A clean & modern signature-style font set, perfect for creating authentic hand-lettered text quickly & easily. With exaggerated strokes and an extra bouncy baseline, Crystal Sky has an unmistakable charm; perfect for logos, wedding stationery, cards, gift designs, product packaging and handwritten quotes. ★ New Update • Crystal Sky Hearts! Add some passion to your Crystal Sky text with Crystal Sky Hearts, a new font included in your download! These bonus designs add a beautiful, flowing decorative heart at the beginning, middle & end of your Crystal Sky Script text at the click of a button. Crystal Sky is packed full of great features to give you plenty of customisation options; Crystal Sky Alt • This font includes an entire alternate lowercase glyph set. 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. Crystal Sky Caps • Have you ever noticed that script fonts tend to be a bit tricky when it comes to typing in all-caps? 'Crystal Sky Caps' includes a totally separate set of A-Z letters - designed to work in harmony with each other during those moments when you need to hit your caps-lock button and go a bit wild! ★ New! Crystal Sky Hearts • Simply install this as its own separate font, and type any a-z or A-I character in this font to generate 1 of 35 heart decorations, designed to pair beautifully with the Crystal Sky Script font. (Please see the image above for a use guide).

Discover Deadfall, the ultimate horror display font that will send shivers down your spine! What sets Deadfall apart is its unique blend of fear-inducing aesthetics and multilingual capabilities. This Monospace typeface exudes a captivating dripped and splash style, adding an extra layer of terror to your designs. Notably, Deadfall supports the Cyrillic alphabet, making it an ideal choice for a global audience. Deadfall offers both regular and italic variations, granting you even more creative possibilities. Whether you're designing posters, crafting marketing materials, conjuring chilling movie titles, creating Death metal logotypes, or working on Halloween-themed crafts, Deadfall will infuse your projects with a bone-chilling atmosphere. To ensure versatility, consider pairing Deadfall with related font families or other typefaces that complement its macabre charm. Its functional aspects include an extensive character set and special features, making it suitable for a wide range of applications. The design concept behind Deadfall revolves around the idea of capturing the essence of horror. The font's distinctive dripped and splash style adds a sense of chaos and unease to any composition, immersing the viewer in a world of terror. The inclusion of the Cyrillic alphabet reflects our commitment to providing a font that caters to diverse audiences, bringing fear to every corner of the globe. We created Deadfall to meet the demand for a truly spine-tingling font that conveys a sense of horror and foreboding. Whether you're a graphic designer looking to evoke fear or a Halloween enthusiast seeking to amplify the spooky atmosphere, Deadfall is here to unleash terror in your designs. Get ready to embrace the darkness with Deadfall - the ultimate font for all things haunting and macabre!

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

It's 1984 and everything has sideburns. Shoulder-padded "dress for success" is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie's "enemy within" and "no society" speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. "Yuppy," Yummy," "Bobo," "Dinky" and "Woopie" are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. Fast forward two dozen years. Replay, but bigger and much louder. Fab. Let's dance. Fab is Canada Type's tribute to the Eighties. It's a five-font unicase family that brings tube design into the 21st century. The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else. The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining. Fab comes in all popular formats and contains support for Western, Central and Eastern European languages, as well as Baltic, Esperanto, Maltese, Turkish and Celtic/Welsh languages.

Brillig is a loose and informal handwriting font. It comes in four flavors, each of which has a very different feel. Brillig Gimble: more formal in that the characters are interconnected as in cursive script. To further enhance this effect, the characters have been created with a slightly "blobby" pen which provides a suggestion of precision. Brillig Earth: is bold and strong. It is more "down-to-earth" than the other styles, however, the boldness is tempered with quite wispy ends (terminuses) to the characters. It conveys a suggestion of speed and strength. Brillig Aire: is the most delicate and ethereal of the styles. Think of fairies, dandelions and dragonflies and you have an idea of what Brillig Aire conveys. Not only are the characters very light in weight, but they terminate in a wispy, delicate end. In spite of all this, Brillig Aire is very readable and can be used in a variety of contexts. Brillig Brave: is quite like Gimble in its feel with one important difference -- the characters are not connected as in cursive script. Each character stands alone. Brillig Line: is a clean, lightweight style using a mono width line for an informal, handwritten feel. There is a collection of the above four styles that is attractively priced and gives you the ability to use these four fonts in a variety of ways within the same document. The font is particularly useable for the promotion of products aimed at designers of: wedding invitations, party invitations, young clothing ranges, magazines, cosmetic packaging. It has been carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

It may be difficult to find a font with characters and legibility rates when creating impactful visual designs. Amid the abundance of ordinary font options, the branding and marketing processes can remain stagnant because the absence of unique fonts will increase the risk of your visual designs getting blended with other people’s designs and be left forgotten. For that reason, we would be glad to introduce you to River Stone, a font to give you assistance to create prominent visual designs quickly and easily. River Stone is an uppercased display font in textured letter shapes with which it shows firm, eye-catchy impressions. The font’s textures can add dimensions to the letters’ displays and live up the design nuances. With the use of uppercases, this font is capable of protruding the desired messages and make the design displays more attractive. Its unique shapes will affect the legibility rate of the font, therefore, you need to use this font for big text sizes for a better legibility reason. In addition, this font provides you a clipart as a bonus and you can make use of the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations River Stone fits best for various design projects, such as brandings, posters, banners, headings, 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.

Did your client just say ‘can you make it pop’? Then you already know you got it on lock. Introducing: Midnight Diner! A multi-layered dimensional script font family featuring thin, bold, outline and shadow capabilities, with a left-leaning slant to boot. You can experiment with various layer combinations and colour! How fun is that? Being effortlessly casual, retro and elegant all in one, you can play it up or down to your liking – perfect for display graphics, logos, signages, packaging, lifestyle imagery, invitations and more. It features a diverse range of stylistic alternates, contextual alternates, and standard ligatures, ensuring that you’ve countless options to choose from for your design work. This font family is delicately crafted and well thought out with every little detail in mind, to ensure its ease and versatility when used! Midnight Diner is a collaboration between lettering artist and calligrapher, Leah Chong (www.leahdesign.sg) and typeface designer, Roland Huse (www.rolandhuse.com). Product Content: Midnight Diner Layered Font - Thin (TTF) Midnight Diner Layered Font - Bold (TTF) Midnight Diner Layered Font - Outline (TTF) Midnight Diner Layered Font - Shadow (TTF) Font Guide PDF https://drive.google.com/file/d/1KPSf-gGrhX3wyaImEAmlJICERNbxu2IN/view?usp=sharing Font Guide Youtube Video https://youtu.be/GtZ8E7Y7wnQ 6 Bonus SVGs (TTF): Midnight Diner SVG - Red Yellow Midnight Diner SVG - Black Pink Midnight Diner SVG - Blue Green Midnight Diner SVG - Orange Yellow Midnight Diner SVG - Purple Pink Midnight Diner SVG - Black White Font Features: Latin character set: Uppercase & Lowercase A - Z Stylistic Alternates Contextual Alternates Standard Ligatures Numerals, Currency Symbols & Punctuation Accented Characters To access all features of Midnight Diner such as stylistic alternates etc., it's highly recommended to use professional design software such as Adobe Illustrator, Adobe Photoshop, Adobe InDesign or Procreate (via the ‘add text' feature).

Rinzler AOE is a revival of a LetterGraphics film type called Caren. A modular, mechanical, sans-serif stencil all rolled up into one retro typeface. It's not an all-purpose typeface, it's not an everyday typeface, but it is a cool typeface for the right design projects. Rinzler AOE carries itself with a bold weighted style, and stencil cutouts that don't follow standard stencil formatting. It might be considered more of a techno stencil (if there is such a thing). It reminded me in a vague way of TRON, hence the main poster graphic styling, although it looks NOTHING like the Tron titling typeface. Nevertheless, it's a fun typeface that needed to be preserved and used again. WHAT'S INCLUDED: Extensive language support. Rinzler has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, but a lot of incredible historical typestyles created as wood or metal or film type usually have bare bones character sets and have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

Inject some irresistible fun into your designs with the Mellow Morning Font Duo! This playful font duo consists of a fast flowing signature script, and a charming small caps font as the perfect companion. But that's not all - also included is a bonus doodle font containing 45 hand-drawn doodles - designed to add an eye catching, hand-made appeal to your Mellow Morning fonts. The Mellow Morning Family includes; Mellow Morning Script • A clean, free-flowing handwritten signature font containing upper & lowercase characters, numerals, and a large range of punctuation. Mellow Morning Script Alt • This is a second version of Mellow Morning Script, with a completely new set of both upper and lowercase 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. Mellow Morning Small Caps • A clean, charming handwritten all-caps font. Contains 2 sets of a-z letters, simply switch between upper and lowercase to toggle between both sets. Also includes 8 stylised letters for extra flair, accessible via a Glyphs panel or by switching on Stylistic Alternates. Mellow Morning Small Caps Italic • An italicised version of Mellow Morning Small Caps, which can be used for a more fast-hand flow to your text. Mellow Morning Doodles • A set of 45 doodles designed to pair with the Script & Small Caps fonts. Simply install this as it's own font, and type any A-Z or a-s character to generate each doodle. Language Support • All Mellow Morning fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Any typeface has two intrinsic elements that does´t work at the same levels, form and appearance. These peculiar visual behavior generate a wide range of graphics games. At reading level, we observe a uniform gray spot, but large bodies allows us to appreciate their shapes and counterforms. Milio takes this duality to offer unparalleled service in newsprint and magazine publishing, specially in small bodies but hard and formal cogency in titling. Its wide variety of weights, 10 in total, together with a slight condensation allows us to save space without losing legibility, even under poor printing conditions. Its basic quasi humanistic forms include support for a wide range of details that give great originality and strength. A friendly appearance, but a strong, all-road typeface with internal forms that reinforced visibility in small sizes thanks to its high average eye and the contrast that generates its soft curved external and internal squared angles. The nuances here are fundamental and explain its powerful large sizes, where you can see these contrasts between the curved, organic, humanistic, and straight, angled, almost mechanical shapes. Milio has the bonus of a large multilingual support for all alphabets based on the Latin and Cyrillic, as well as large Opentype features for expert users, among which we have true small caps, ligatures and automatic contextual alternates. Several sets of numerals for use on tables and other “delicatessen” as fractions are also included. Having in mind the daily struggle in newspaper and magazines´ edition, Milio has been designed with the idea of being Cinta´s perfect couple, a similar contrast and proportion typographic san serif family produced by the same Foundry as Milio, to cover almost all the graphic needs in actual DTP.

Lovely Valentine is a was inspired by a recent trip to London, England where I happened upon a bustling pub with beautiful typographic signage. Lovely Valentine delivers a multitude of Opentype features, For a number of capital and lowercase letters, large swashes expand above and below the characters. Contextual swashes are also applied to some characters when placed at the beginning or end of a word adn mettalian font as bonus This font is made in a modern style with a very beautiful beginning and ending.elegantly,very casual and suitable for your various design needs I'ts.Perfect for logo,branding, tittle, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special event,magazine,web design. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. You can mix and match with Opentype feature: More than 395 of glyphs Alternates Titl Uppercase Stylistic sets from ss01 to ss02 Multilingual Language If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/

Always intrigued by Bodoni's original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni's widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic. After a careful examination of all characters, I decided to create a typeface based on the distinct script capitals presented in the book. Matching lowercase italics were later selected and designed to complete the series. Since my intention was not to create simply a digital version of Bodoni's work, this typeface was designed with connected characters and capitals with extra calligraphic elements. The result was released in 2002 and published in our award-winning catalog/book IDEA/Trendsetting Typography vol.1. Later in 2005 we revived a large number of ornaments and borders (credit goes to designer George Lygas). All this work was left behind till recently when it was revisited to create a complete 'Pro' family. Several new uppercase and lowercase glyphs were designed in order to create a distinct typeface, which is based on Bodoni but yet it stands out on its own. The new version also takes care of conflicts between neigbouring letters, something that was not included in the first version. Bodoni Script Pro is a 3-weight superfamily. It supports 10 special opentype features including 'contextual alternates' as well as support for both Latin and Greek. Each font comes with 725 glyphs including a large number of alternates as well as 144 ornaments. Furthermore, when you purchase the whole package you get a bonus font which contains 120 frame parts. These parts, when put together, create some truly amazing borders. -Panos Vassiliou

MMC Insignia, is an Iconic & Emblematic Neogothic Geometric Capitals Display… Assembled by Trivial Squares and Diagonals Symbols Pattern from a puzzled grid Aftermath!! Includes Stylistic Alternates!! +Extra Monospaced Figures. In 22 styles, with Obliques, both for single display and layer Typesetting, plus OpenType Features & Bonus Blocks Fonts! MMC Insignia is a Small Caps Typeface, which default lowercases character set is included in the Pro family, its cursive version, apart from it, has also Exclusive Stylistic Alternates… Its atmosphere stands by on both Corporative to Decorative, Modern, Fashion, Federalist, Bohemian, Romantic, Ludic, Treasured Look, Etc. This Display font-family is the result of the repeated applications of this unique infamous Icon or Symbol, of two counterpointed triangles, implicit as hourglasses, in order to compose an innovative and unprecedented typographic pattern and modulation concept through the letterforms, in an extremely Geometric style. The Graphic Sign used throughout this type, is a remarkable trend used already in Logos of different businesses, whose most famous case refers to a famous International Bank, which doesn’t need to be mentioned, as it is instantly associated! This characteristic innovation was the main motivation while creating this type. Usage Suggestions: Type Fancy Titling texts, Display Remarkable Logos, Branding Projects, Labels, Emblems, Fashion Patterns, or in everything Noble and designed for Excellence as a type of Insignia, or distinguished marks and attributes of Royalty and Power!! That’s also forwardly, the reason why it was named MMC Insignia… TIPS: 1-Combine styles into innumerous possibilities of Chromatic Typesetting, by ‘central pasting’ layers… You may dislocate layers for improvisations! 2-USE BLOCK “FREE-STYLES” 1 & 2 also to add default 3D! Change 3D directions by switching Block 1 to Block 2, that way you can Zig-Zag words and lines. *Also shift the block layer up to bottom limit, it makes the 3D direction turn upside down. Greetings! André, MMC-TypEngine.

A smooth contemplative Antiqua with aspiring to the sky ascenders, inspired by the Quietism philosophy. Clarity of the mind is achieved by bringing the body into a state of calm and contemplation, and this is reflected in the design – the quiet horizontal serifs (body) are opposed to the peaky soaring ascenders (mind). The design also features four optical size subfamilies with different x-height and contrast, oldstyle diagonal stress, oldstyle figures by default, smooth details and slightly dark texture. Variable axes: Weight, Contrast, X-Height. Scripts: Latin, Greek, Cyrillic. Languages: 480+. The complete list of supported languages: michaelrafailyk.com/quietism Kerning: 4553 class-to-class pairs. Hinting: Not applied. Format: TTF – OpenType with TrueType outlines. Variable Font: Quietism Variable provides more options than static versions, and has three axes: Weight (Thin–Black), Contrast (Low-High), and X-Height (Low-High). Variable fonts includes thousands of styles that you can access using a sliders on graphic editor or via CSS on web browser. Mixing different axes gives you extra styles not represented by static fonts. Optical Size: The typeface is represented by four subfamilies: Text (low contrast, high x-height – for paragraph 10-20 pt), Deck (medium contrast, medium x-height – for subheading 20+ pt), Display (high contrast, medium x-height – for heading 72+ pt), Poster (high contrast, low x-height – for big size 120+ pt). Small Caps: Lowercase letters and Oldstyle Figures are replaced with Small Capitals forms. Capitals to Small Caps: Uppercase letters, all figures, and some punctuation are replaced with Small Capitals forms. Case Sensitive Forms: ()[]{}‹›«»-–—•·#%‰@ and Arrows are centered on capitals. Oldstyle figures are replaced with Lining figures. Oldstyle Figures: 0123456789 #%‰. Designed to work with lowercase letters. Used by default. Lining Figures: 0123456789 #%‰. Figures are the same height as uppercase letters (cap height). Proportional Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Tabular Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures. Contextual Alternates: Number sign character (#) before uppercase letters is replaced by its version centered on capitals. Hyphen character (-) between two uppercase letters is replaced by its version centered on capitals. First of two TT letters is replaced by its alternate form. Letters vwy before the letters fijmnprtuvwxy are replaced with an alternate shorter versions that fits better in the context. Contextual Alternates (Greek): ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps and Small Caps modes. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: FTГТИЦЩцщ and their versions with diacritical marks. Stylistic Set 01 “Arrows”: Left <- Right -> Up Left Right <-> Up Down North West South East \> South West Stylistic Set 02 “Round-Square Cyrillic”: ДИЙЍЛФвгджзийѝклнптцчшщьъю characters are replaced with its Bulgarian or Russian forms. Stylistic Set 03 “Cyrillic Tse Shcha short tails”: ЦЩцщ characters are replaced with its alternate form with short tail. Stylistic Set 04 “Cyrillic I full serifs”: ИЙЍӢ characters are replaced with its alternate form with inner serifs. Stylistic Set 05 “FT bent inward serif”: FTГ characters and their versions with diacritical marks are replaced with its alternate form with right head serif that bent inside. Stylistic Set 06 “Small Caps centered on Capitals”: Small Caps are vertically centered on uppercase letters. Standard Ligatures: fi fl fb ff fh fj fk ffb ffh ffi ffj ffk ffl. Discretionary Ligatures: Th ct st. Localized Forms: 52 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Macedonian, Moldavian, Polish, Romanian, Serbian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (571 characters). Precomposed.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. ITC Founder's Caslon® was created in 1998 by Justin Howes, an English designer who used the resources of the St. Bride Printing Library in London to thoroughly research William Caslon and his types. As was common in the eighteenth century, Caslon had punchcut several different sizes of his types, and each size had a slightly different design. Howes digitized every size of type that Caslon cast, keeping their peculiarities and irregularities and reproducing them as they appeared on the printed page. This family has the 12 point, 30 point, 42 point, and Poster styles, as well as a full set of bona fide ornaments. In keeping with the original Caslon types, none of the sizes have bold weights, the numerals are all old style figures, and a full set of ligatures (some with quaint forms) are included. ITC Founder's Caslon® is a remarkable revival in the true sense of the word, and works beautifully in graphic designs or texts that require an authentic English or historical flavor.

The Brazzari Pro AOE is an unusual but fun geometric typestyle design. It is the historical revival and elaboration of the "Bizarre" typeface created by MacKellar, Smiths, & Jordan Co. in 1884. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Definitely a niché use typeface, however, it has some great appeal. The letterforms of Brazarri Pro AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs. WHAT'S INCLUDED: Enable the Stylistic Alternates feature for standardized letterforms without the extensions. Extensive language support. Invocation has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, and expand on their character sets to enable them to be used more widely than their limited originals. A lot of incredible historical typestyles created as wood or metal type with bare bones character sets have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

Duos Pro, a script for illusionists, comes in 10 styles. Whatever style you pick: apply this speedy monolinear handwriting font in large sizes, because it is made for catching the attention. Take Duos Sharp, which comes with speedy strokes and sharp endings in light, regular and black weights. Or pick Duos Round, and its 3 styles with a softer voice and round endings. Some people call those endings “funky ball noses“, an odd but appropriate description. Round styles look more like round tip speedball lettering, but contrary to most speedball letterings they're written with a very high speed. Especially Duos Round Black is more cuddlesome than its sharper counterpart. For an even more intuitive feel, we added two more sets: Duos Brush & Duos Paint. Duos Brush combines monoline strokes with brush beginnings and endings, for that graphical, freshly lettered touch. A closer look will reveal how its brushed tails vary all the time. Duos Paint is made up out of rough & artistic painted strokes, with all its accompanying shortcomings. In contradiction to the finesses of lighter weights, Duos Paint Black scores in being the most nonchalant and impressionistic. Poésie brutale! As well as having the option to choose between (or mix) these 10 styles, Duos Pro has additional hidden functionalities. For example, every style has many alternate lettershapes and ligatures, offering various different results and lengths to display every single word. Or manually add one of the swashes for more emphasis. A bonus font, Duos Tools, includes tool icons, strokes and banners. If that ain’t enough, throw in some polysemic letters for smart, ambiguous communication if you like. Want to become a signpainter? Then be a signpainter. Always wanted to be an artist? This is your chance! Duos Pro boosts your look. Make your visual vocabulary as grandiose, dramatic, sensitive or picturesque as you want. But whatever you do, don't hesitate to apply Duos Pro “short & big”!

MMC INSIGNIA PRO, is an Iconic & Emblematic Neogothic Geometric Display… Assembled by Trivial Squares and Diagonals Symbols Pattern from a puzzled grid Aftermath!! Includes Small Caps & Stylistic Alternates!! +Extra Monospaced Figures. In 22 styles, with Obliques, both for single display and layer Typesetting, plus OpenType Features & Bonus Blocks Fonts! MMC Insignia Pro, is the cursive version of MMC Insignia and the default or main lowercases in ‘SC’ feature plus cursive stylistic alternates and sets such as Monospaced figures… Its atmosphere stands by on both Corporative to Decorative, Modern & Fashion, Federalist, Bohemian, Romantic, Ludic, Treasured Look, Etc. This Display font-family is the result of the repeated applications of this unique infamous Icon or Symbol, of two counterpointed triangles, implicit as hourglasses, in order to compose an innovative and unprecedented typographic pattern and modulation concept through the letterforms, in an extremely Geometric style. The Graphic Sign used throughout this type, is a remarkable trend used already in Logos of different businesses, whose most famous case refers to a famous International Bank, which doesn’t need to be mentioned, as it is instantly associated! This characteristic innovation was the main motivation while creating this type. Usage Suggestions: Type Fancy Titling texts, Display Remarkable Logos, Branding Projects, Labels, Emblems, Fashion Patterns, or in everything Noble and designed for Excellence as a type of Insignia, or distinguished marks and attributes of Royalty and Power!! That’s also forwardly, the reason why it was named MMC Insignia… TIPS: 1-Combine styles into innumerous possibilities of Chromatic Typesetting, by ‘central pasting’ layers… You may dislocate layers for improvisations! 2-USE BLOCK “FREE-STYLES” 1 & 2 also to add default 3D! Change 3D directions by switching Block 1 to Block 2, that way you can Zig-Zag words and lines. *Also shift the block layer up to bottom limit, it makes the 3D direction turn upside down. Greetings! André, MMC-TypEngine.

Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today's aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet. As in any efficient mixture of lettering methods, Hamlet ended up with characters that are uniquely its own, such as the cupped A, M, V, W and Y, the very luscious and inviting curves on the arms of E, F, L and T, both single- and double-story forms of the a, and the humblest, friendliest g and y ever. A dozen alternate characters are sprinkled throughout the character set, so check out the map for a few pleasant surprises. We also made the Handtooled and Headstone styles because we thought these friendly forms were just crying out for such treatments. The Handtooled version turned out quite lovely, if we may say so ourselves, perhaps even better than the main font. The Headstone version is available as a free bonus to those who purchase the complete Hamlet package. All Hamlet styles come with lining figures as well as old style ones. Hamlet comes in all popular font formats. The OpenType fonts contain push-button swapping alternates and figures, which come in handy in software programs that support this kind of thing.

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

High-contrast? High impact? Have Courage? Eye-catching and (extra, extra) bold, Courage balances ultra-high stroke weight, delicate details, and unique letterforms with a self-indulgent passion that will make you feel a little guilty using it. Honestly, use it large and don’t try to force it into a small space, because these fearless letterforms need room to move. Flavored with both upright and italic styles, each font includes an indulgent level of alternates, swashes and titling options, visual elements and more. A backstory with a different name Years ago, I was commissioned to take my Lust typeface and produce something unique to use for large format graphics for an event…cool. It needed to be hyper-contrast with a lot of over-the-top details. With a tight turnaround, I looked for primers within my development catalogue to help me, and settled on some early work on a typeface I had drawn called Hedonist. I used those sketches and its conventions to retrofit and build out Lust Hedonist (only to see the project go bust on the client’s end). I intended to go back shortly after the Lust Hedonist release to finalize a retail version of the OG Hedonist, but I never could settle on the look of the 'g' or the numerals, got distracted with other projects, and never picked it back up… until last year. After randomly doodling a fat, flat ‘g’ with an extremely tilted counter axis, I knew immediately how it could be used and that (re)set things in motion. Only problem was, in the process of refining the letterforms I began truly dissecting the pieces, rediscovering all of the recklessness within Hedonist, and decided on fundamentally rewriting the approach to the typeface… literally flaying it to the bone. I’m much, much happier with this finished typeface now, but the name no longer fit the moniker given to the first, adolescent approach—there’s far more audacity and cleverness in these letterforms, tenacious in their resolution now. As a result, the name Courage fit the mettle of this typeface so much more, so I kept it.

Touch Me is a Script hand-drawn style typeface—designed by Coto Mendoza—resulting from polyrhythmic exploration, sign deconstruction and altered calligraphic contrast plays with watercolour brush. Coto has been using these experimental calligraphy techniques when creating the catchwords for Macarons, the Boho Family, Bikini Season Script and Matcha Script and so forth. Touch Me was inspired by a character in a story written by Coto while attending a literary workshop with Ina Groovie in Santiago de Chile. The character is a tribal girl who lives on an island in the Caribbean. She is heir of ancestral knowledge and possesses wild beauty, very passionate and sensual: intense, strong and free. These features are reflected in the polyrhythm of the typeface's curves: an irregular baseline, variable x-height, different lengths of initial and terminal strokes (that sometimes expand and sometimes shrink) and amount of brush pressure that generates changes in contrast within the characters. This way, when composing, signs with stroke contrast randomly alternate with monolinear ones and with signs of altered contrast, thanks to the typeface's OpenType programming. The family, with more than 3,000 glyphs, provides a number of alternative characters, swashes, ligatures, initial and terminal forms, in short, a vast ocean of choices! Touch Me is a spontaneous typeface with a fresh and unique personality. It is the perfect choice for short text in both print and digital formats. The family comes with a Script Regular version and a seductive Script Drop that you will enjoy a lot! The Extras set includes some catchwords, dingbats and ornaments that allows for endless composition options. The family also comes with a Caps version —designed by Luciano Vergara—in 2 styles: a funny and big-headed condensed Sans Grotesk display of inverted vertical proportion plus a Grotesk, neutral and slightly expressive Petite. Both versions, available in 6 weights, have been especially designed to create hierarchies when composing. This allows for balance between strokes of different weight when it comes to the Sans and Script fonts. Come and dare yourself! Touch Me! Thanks Alisa for sharing your amazing and beautiful picture with us.

When Dupla was designed, its DNA shown the best of the typographic heritage from the XIX century types, the oldest san serif known, also named as “Grotesk”, a soft synonym for bizarre, unnatural weird. XIX century Germans' eyes were surprised, astonished by the formal strangeness that provoked the mutilation of the well known serifed types. But the skeleton and DNA are barely perceptible, an invisible part of the nature of objects. We are interested in the epidermis, the outer, the visible, which directly speak to the eyes, and Dupla tells us with overwhelming presence, that is a formal, traditional type, covered with a childlike sweetness, with slight curves, epidermic, sweetening even ink’s traps up. Frutiger said that Latin alphabet letter’s minimum skeleton is like a lock where you should fit all the letters you see, but that skeleton allows many skins. We use a different skin for every specific use. And Dupla’s skin points to how generous, how friendly it is; the sweetness of the big and good-natured. They do not feel very comfortable in low-cost airplanes company’s seats, but in the proper location with enough room, they'll fill the atmosphere with kindness. Do not ask for narrow columns, or terse captions in squalid sizes; do not ask for ridiculous “small print” in dark contracts where «The party of the first part shall be known in this contract as the party of the first part …» That’s not for Dupla. Large headlines, generous width columns to cover, rude pullquotes half-breaking columns, loud exclamations, great sizes, with black weights. It’s in the insultingly generous, almost obscene use where Dupla is felt. And if you consider this a obscene, gargantuan, typographical feast, Dupla brings you everything to demonstrate that quantity does not mean less quality. Multi-language support, Latin plus full coverage, complete sets of small caps, fractions, old numerals, modern, tabular, bonds and all the “gourmet” paraphernalia that Patau has accustomed us, after many years of work. If you want to be obscene and pass the censorship, use Dupla. Hedonism is just a venial sin.

The Adelle Sans font family by José Scaglione and Veronika Burian provides a more clean and spirited take on the traditional grotesque sans. As is typical with TypeTogether typefaces, the most demanding editorial design problems were taken into consideration during its creation. The combination of lively character and unobtrusive appearance inherent to grotesque sans serifs make it an utterly versatile tool for every imaginable situation. Whether for global branding, screens, signage and advertising, or UI, the keyword behind Adelle Sans’s use is flexibility. To save space and keep legibility high, Adelle Sans is available in eight weights with matching italics and includes a condensed width of seven weights with their matching italics. Each of these 30 styles hits the perfect tone as a headline punch or subdued background hum, and the condensed widths are adept at setting short texts while retaining the expected personality. Rooted in the belief that broad language support is crucial to modern global type design, the Latin-matching variants are yet another push in TypeTogether’s ongoing multilingual efforts. The Latin script may have been first, but Adelle Sans has thus far been expanded into an exhaustive nine script family with extensive language support. Careful research and close collaboration with type experts yielded typographic consistency, legibility, and cultural awareness among all scripts, as well as filling the need for quality editorial typefaces in Arabic, Armenian, Chinese, Cyrillic, Devanagari, Latin Extended, Greek, and Thai, with more planned for the future. In addition to the 30 Latin styles, all other scripts have between seven and fourteen styles, each of which has been engineered to optically match the proportions of its counterparts. And each script comes bundled with the Latin script to ensure an harmonious fit amongst any two or more Adelle Sans families in the same block of text. The full Adelle Sans family delivers consistent, flexible, and personable results in multilingual documents, in apps, and multicultural branding worldwide. Its wide character set includes typographic niceties, small caps, several sets of figures, icons, and support for over 245 Latin-based languages. Be sure to check out the companions for Adelle Sans: Adelle, for a versatile and authoritative slab serif with no shortage of personality; and Adelle Mono, a two-width family flexible enough for developers and graphic designers alike.

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

Thanks for checking out Winter Glows! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & loops, Winter Glows is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and whatever your imagination holds. What's really awesome is that Winter Glows comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text. Winter Glows Family includes 5 font files; Winter Glows • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Winter Glows Alt 1 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. 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. Winter Glows Alt 2 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. 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. Winter Glows Alt 3 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. 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. Winter Glows Extras • A set of hand-drawn swashes & doodles, the perfect finishing touch to underline your Winter Glows text & doodles for perfect lettering logos. Simply install this as a separate font, select it from your font menu and type any A-Z, a-z & 0-9 character to create a swash & Doodles. Standard Ligatures • Are also available for several lowercase characters (double-letters which flow more naturally). Ligatures will automatically replace the standard letter pairs whenever available, when using any OpenType capable software.

After 13 months of hard work, Iza W and Intellecta Design are proud to announce Penabico. This is a free interpretation of the copperplate script styles to be found in the Universal Penman . London, 1741 , the monumental publication of engraved work by George Bickham (along with collaborators Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, William Leckey and many others). This enhanced OpenType version is a complete solution for producing documents and artworks which need this kind of calligraphic script: 100s of stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; 250 ornaments and fleurons (mostly in the copperplate roundhand renaissance style) encoded in the dingbats range and accessed with the glyph palette (plus a special set with over 50 of these ornaments accessed with the ornaments feature); an extensive set of ligatures (100s of stylistic and contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; complete, intricate, ready-made calligraphic words; abbreviations (in many languages). The principal font contains the complete Latin alphabet, including Central European, Vietnamese, Baltic and Turkish with all diacritic signs, punctuation marks (including interrobang ). The German ‘ß’ (germandbls, eszett, sharp s) even has over six different alternate forms. And we don't forget to add the unconventional germandbls uppercase. In non-OpenType-savvy applications it works well as an English commercial script style font. Because of its high number of alternate letters and combinations (over 1500 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette. Two last things — we have placed some of the ornaments, catch-words and other material in supplementary fonts, for easier access in non-OpenType-savvy programs. They are: Penabico Words (see the pdf user guide in “Gallery”), Penabico Abbreviations (free font), and Penabico Extras (free font). And, when buying Penabico you get the 'Penabico EPS Bonus Set", a gift pack containing various highly intrincated frames in EPS format, easy and ready to work with your preferred vector design software like Corel or Illustrator (see the pdf in the Gallery). Know too our other superscript font : Van den Velde Script at http://new.myfonts.com/fonts/intellecta/van-den-velde-script/

Refinery is the newest font in the Evanston Collection of square typefaces. With a similar capital structure to Tavern and Alehouse, Refinery includes both lowercase and small caps, making it an ideal typeface for paragraph text settings. It also comes in a wide array of weights and widths, with 85 font files in total. DESIGN Refinery has it’s roots in early 20th century signage and saloon typography, but has been modernized - even future-ized - to fit the 21st century digital landscape. The design was aimed at providing a type family that could work in many modern design fields, from sports, tech and military to gaming, HUD, virtual reality and augmented reality. ENGINEERING Essentially. Refinery is a simple mono-linear square design has been expertly refined into an easy-reading sans serif typeface. It was designed to be used in both display and text settings. From hairline to black in ultra-narrow or extended, the wide array of weight and width options makes it easy to find the right font for each text need. SPECS Refinery not only includes 85 font files, but each one include a wide array of Opentype Extras that allow even further customization. • Stylistic Alternatives: Letters A W Y have a styling variation that rounds the pointed apex into a square curve. The S and 2 variation straightens the spine, making all curves in the alphabet read as 90º angles. • Small Capitals: A shortened version of the capitals for alternate header settings. • Titling Alternatives: In this typeface, this feature turns on lifted small caps. Take the small capitals, raise them to level with capitals and underline at the baseline. When multiple lowercase or small capital letters are typed in a row, the underlines connect, creating unique ligatures. • Figures: There are different figure styles for different text needs. Options include, proportional lining, tabular lining (for math), old style and small capitals. • Discretionary Ligatures: A little funk to this otherwise serious typeface. Letters with a long baseline or cap height stem - F, L, T - get elongated to hug a small capital vowel. Other ligatures include Co. and No. • Catchwords: These are common words that bring emphasis to a design. In English these words include ‘and’ ‘as’ ‘by’ ‘in’ ‘of’ ‘the’ ‘to’ ‘when’, among others. Refinery also includes multilingual catchwords of ‘el’ ‘la’ ‘oder’ ‘go’ ‘para’ ‘pour’ ‘und’ ‘y’, among others. For the full list, please check out the specimen images. EXTRAS To round the typeface off, a set of over 150 ornaments, icons, arrows, patterns and line breaks is included to provide complimentary graphics. These can be found in the Ornaments labelled font, it is recommended to use the Glyphs panel to select which text glyph is needed.