This small family can be counted as 4 fonts in 2. Because both weights contain small caps, 12 sets of stylistic alternates, and a decorative swashed form. That’s not counting dozens of ligatures in both multilingual latin and Cyrillic scripts. Plus ordinals, case-sensitive forms, and manual hinting. Due to its geometric nature, designers can manipulate vectors to change letters' dimensions for logotypes. They may seem modular, but every glyph was shaped individually to give handmade imperfections, reminiscent of wood type press. This allows for plenty of details at large sizes. Regular versions are multilingual but include only standard ligatures and case-sensitive forms.

Welcome to a world of elegance and grace with BIENUG, the unrivaled classic serif font. Designed specifically for projects with a classic modernism theme, this font is the perfect solution for bringing a stunning, classic touch to your designs. With ligature and alternate features, BIENUG provides unlimited creative freedom. You can combine unique character variations to create an interesting look that is different from the others. Available in a variety of styles, this font lets you explore different nuances and moods in each design. In addition, BIENUG supports multilingualism, enabling you to convey messages fluently in multiple languages. There are no limitations in reaching an international audience with this font. Enhance your designs with the beauty and elegance of BIENUG. Make an unforgettable impression with subtle details and strong characters. Add a touch of classic modernism to your project and present a stunning visual experience. Explore the BIENUG collection now and find power in the beauty of this classic serif. Let this font be your loyal partner in creating eye-catching and memorable designs. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Taro Why do designers make more and more geometric fonts? There are already many geometric sans in the world. Because It is a natural flow of design. It is true that we like geometric type instinctively. Taro was designed to archive a good balance between the following three things geometrically. 1. To be Natural, Flowing, Organic. 2. To be Neutral, Unbiased, Universal. 3. To be legible, distinguishable, readable. Consists of eight weights and their matching italics. Supporting almost all latin languages. All-caps text for one line or a few is as wonderful as normal mixed-case typesetting.

Mikado is a friendly, casual type family designed by Hannes von Döhren. It is intended to be used everywhere where a pleasant feeling should be conveyed: Games, Food, Service or Advertising. Mikado has a positive, kind of "out-of-the-box-appearance" in big sizes, but because of its straight architecture the fonts are also very legible in smaller sizes and longer texts - in print or on screen. Mikado is equipped for complex, professional typography with alternate letters, ligatures, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Hijrah! A blackletter display font with 2 styles, regular (clean) and textured (stamped). Hijrah is perfect for logos, apparel, T-shirt, Hoodie, product packaging, or anything else. What's Included? 1. Uppercase and lowercase characters 2. Supports international languages 3. Numerals, punctuations, stylistic alternates, stylistic sets 4. Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries. (ibnu.blawong2@gmail.com)

Shanks Antique 5 Pro is an iconic antique English typestyle rooted in tradition. It is the historical revival and elaboration of the “Antique No. 5” typeface created by Stevens, Shanks & Sons in 1865. 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. Reviving history looks and feels good. Perfect for wedding invitations, historical ephemera recreations, and classically elegant text settings.

Salim is a handwritten brush font with 2 styles, regular (brush texture) and solid. Salim is perfect for branding, logotype, apparel, T-shirt, Hoodie, product packaging, quotes, flyer, poster. Comes with Uppercase and lowercase characters, Supports international languages, Numerals, punctuations, ligatures, stylistic alternates, and stylistic sets. Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries.

Here is a script font with a bold and cool style. Can be applied in various media such as vintage logos / logos, clothing, food packaging, brand names, posters, broadcasts or youtube thumbnails, even album covers! No, you can also execute and explore easily for your project because it contains lots of very cool alternative characters! see details of some preview above for reference. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Alternate -Swash Note : Open with a program that supports the Opentype feature and an glyphs panel is available to see more alternative characters. Sample programs like Adobe Illustrator and the like!

GRINDS! A handwritten display brush font, all caps. GRINDS font is suitable for branding, logotype, apparel, T-shirt, Hoodie, product packaging, quotes, flyer, poster, book cover, advertising, etc. Whats Include? Opentype support Multilingual support PUA encoded Features: All uppercase, numerals, punctuations, and ligatures Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word Please message me if you're unsure of any language support. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries.

Marphidy Script is a calligraphic script font that features a beautiful changing character, a classic decorative brass script type with a modern touch, designed with high detail to bring the elegance of style. Marphidy Script is attractive as its typography is soft, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many good letter connections. I also offer some vibrant style alternatives for many letters. The classic style is suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make-up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels.

Each year whalers from Japan kill more than 1000 whales. Japan says that the killing of whales is a 'cherished Japanese tradition', and that it is taking 'scientific data'. A portion of the whale meat is canned and marketed as 'traditional food'. How sad is that? A huge whale being reduced to a chunk in a can… Canned Whale is a hand drawn, outline style font with a cartoonesque twist to it. It can be used in ads and posters, it can be filled in with color, or kept as an outline. Canned Whale comes with extensive language support.

DETAILS Broneo! A handwritten script font. Broneo font is perfect for branding, logotype, apparel, T-shirt, Hoodie, product packaging, quotes, flyer, poster, etc. Whats Include? 1. Uppercase and lowercase characters 2. Supports international languages 3. Numerals, punctuations, ligatures. 4. Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word. Please message me if you're unsure of any language support. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries. Omotu

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

Namira is a modern calligraphy script font. Namira is suitable for branding, logotype, apparel, T-shirts, Hoodies, product packaging, quotes, flyer, poster, advertising, and more. What's Included? 1. Uppercase and lowercase characters 2. Multilingual support 3. Numerals, punctuation 4. Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word. Please message me if you're unsure of any language support. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries. Omotu Studio

The Posterama™ typeface family contains 63 fonts and is a true journey through space and time. Designed by Jim Ford, each Posterama family contains 7 weights from Thin to Ultra Black, in 9 distinct families. What makes Posterama so unique and versatile are the eight alternative display families. By making use of a collection of alternative glyphs, Posterama sets an evocative flavor to visualize an entire century of futuristic reference points from art, architecture, poster design and science fiction into one family. Posterama Text is the base family. It has the most robust character set including upper and lowercase glyphs and pan-European language support (including Greek and Cyrillic). Note: all the other Posterama variants described below do not have lowercase letters or Greek and Cyrillic support. Posterama 1901 recalls the decoratively geometric style of Art Nouveau from the turn of the 20th century. Letterforms such as the slender, snaking ‘S’, the high-waisted ‘E’ and the underlined ‘O’ revive the spirit of Charles Rennie Mackintosh and the designers of the Viennese Secession. Posterama 1913 pays homage to the Armory Show, or 1913 Exhibition of Modern Art, which brought the revolutionary work of European artists such as Picasso, Duchamp and Kandinsky to the US for the first time to the shock and astonishment of press and public. Near-abstract, angular characters such as the ‘A’, ‘E’ and ‘N’ hint at cubism’s jagged and clashing planes. Posterama 1919 uses a small, but important, variation to set a tone when the Bauhaus was founded, and the surge in radical European typography that followed. The straight-sided, roundheaded ‘A’ adds a flavor of 1919 – this style of ‘A’ can still be seen in the Braun logo, designed in 1934. Posterama 1927 captures the year of Metropolis, The Jazz Singer and Paul Renner’s pioneering, geometric Futura typeface from 1927, which had a profound influence on design in the US and Europe. Posterama 1933 – With its low-waisted, sinuous designs, the Posterama 1933 typeface family echoes lettering of the Art Deco period, which in turn had its roots in Art Nouveau, the key influence on Posterama 1901. The two fonts make a great team and can be used interchangeably. Posterama 1945 features a few Cyrillic characters to conjure up an era when Russian art and political posters made their mark in cold war propaganda, espionage and also giant aliens and monsters. Posterama 1984 takes its typographic influences from George Orwell’s classic novel, publicity for the dystopian action and sci-fi movies (Blade Runner, Videodrome and Terminator) and games like Space Invaders and Pac-Man that made an impact at that time. Posterama 2001 was inspired by Stanley Kubrick’s science fiction masterpiece, which made extensive use of the Futura typeface. Posterama 2001 finds its cosmic orbit with its nosecone-style ‘A’ from NASA’s much-missed ‘worm’ logotype. There’s an echo, too, in Bauhaus designs from as early as 1920, whose minimalist, geometric lettering also featured a crossbar-less ‘A’.

Qiltray is a good example of how handwritten fonts can be made for use in long texts. With clear and readable letters, Qiltray may be used in any kind of publications. Includes Cyrilic and CE character set support.

Nighiri, a classy and elegant handbrush signature typeface that will shine for multiple projects. Nighiri is recommended for poster, logo, headline, quote, wedding, branding, fashion, or anything else you want. It's good for display or just a text.

Parquillian is a calligraphic display face with good legibility. It is based on a hand using elements of Italic, Gothic and Fraktur, developed for creating wedding certificates. It has numerous ligatures and alternates with subtle yet elegant swashes.

frontline classic font Font a stylish Font. It’s useful for any Design project. Decal, card, e-card, Good for Logos & Headlines, Poster,Tag design, Newspaper & Magazine Ad Design and many more. True type and Open type font files

Fleurons are embellishments and here is my fourth round. I found some nice old ones and made some new. These go very well with my scripts Nadine and Ellida!!! Yours once more in a beautiful mood, Gert Wiescher

Tambau is a display typeface crafted by Matheus “Fio” Gonçalves, a Brazilian design student, still in college, inspired by Brazilian concert urban posters and wood type that I saw at the Oficina Tipográfica São Paulo. The font was first made for a magazine project in design school, making it beautiful on giant pages headlines, billboards, signs, etc. There’s no lowercase, the character set is dramatic and objective. The uppercase is actually expanded letterforms causing some eyes and breathing paths to the very condensed and very modular glyphs, which creates a quite interesting striped texture between form, counterform and spacing. The lots of ligatures come to give it more closure between the letters, when they try to form blank spaces. So do the diacritics, fitting in the space given to them by the dynamic letterforms, making dense rectangular blocks. You may use Tambau as big as you can or do a high tracking to it and still it will be pretty. The titles can be dynamic, just condensed or just large. It’s on your own. Don’t be afraid to play with Tambau, it’s an alive typography. Curiosity: For the magazine in design school, the pilot project of Tambau was cut in a MDF board, to print it with texture and paint. Later was added more characters, languages and special glyphs to it. Set: Tambau is a singular font typeface, with extended and condensed characters, numbers, ligatures, punctuation and symbols for Basic, Western, Central and South Eastern Latin languages.

Sherbrooke is a simple and sans serif font. I have chosen the name of this typeface after the "Sherbrooke" Street in Montreal, Canada, that I daily walked in for several months in the late 2005 while I was studying in Montreal, Quebec, Canada. I do adore this street and also I adore the whole city of Montreal. This font comes in two different weights. "Sherbrooke" can be used in wide fields of publications such as the titles of novels, literary texts, short stories, dictionaries, books, newspapers, websites, and magazines. It is suitable for T-shirts, mugs, advertisement light boards in malls, subtitles of movies, logos, cans of foods, and medicines' names. The font is more attractive when it is printed in calendars and for displaying the contents and paragraphs of electronic encyclopedias and different online websites. "Sherbrooke" is specifically designed for educational, journalistic, literary, and social purposes. The main characteristics of "Sherbrooke" Typeface are in its sans serif new designed letters and also in its lowercase special numerals. I think that these characteristics have made "Sherbrooke" exceptionally unique with its alphanumeric combinations. You can enjoy this typeface and use it anywhere at any product or service. It is simply gratuitous for all. The word "Sherbrooke" is a person's name. Sherbrooke Street - officially Rue Sherbrooke - is a major east-west artery at 31.3 kilometers in length and it is the second longest street on the Island of Montreal in Canada. The street is named for John Coape Sherbrooke, the Governor General of British North America from 1816 to 1818.

Introducing our new Font called Maybe This font has a young, powerful and energetic character, nuances of Halloween and Christmast, of course it is very suitable to be used for modern and vintage projects, the beautiful and beautiful lettering makes this font look charming for you to use as a title, logo or anything else in any design project. you. This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

When your handwriting is that good... make a font! Now you can "Be Me." Give your text a little attitude with this fun font! This font is great for beauty, fashion, announcements and so much more! With a variety of swashes and fun symbols to create quirky posters. Regular & Bold fonts include: 1821 Glyphs Including Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, Greek and Coptic, Cyrillic, Thai, Miscellaneous Symbols, Hiragana, Katakana, CJK Unified Ideographs, & More.

Mimix is designed especially for comic fans and all typographers who like to play. It’s ideal to express spontaneity and the joy of life. Where Mimix is used, there’s life. The characters are lined in a row, a face looks out from the page. Big ears surround an oval head. A mouse moves without haste, but dynamic and modern through the lines. Mimix skillfully combines the elegance of a modern roman with the spontaneity of a casual handwriting. The mouse shows its versatile character in its broad range of use. Without exaggeration, it’s always delicate and elegant. The quiet form and good readability is a result of its moderate inclination. Well developed, Mimix includes ten weights from Ultrathin through Black. The free trial pack includes two weights with a reduced number of glyphs. If you like it you will be then be able to buy the fonts itself complete with ligatures, special characters for Eastern European languages, uppercase, lining and old style figures as well as fractions and different Opentype features. Declare war on desert lead – with Mimix, those with charm. Download a free trial version of Mimix with a reduced character set. Check it out!

Ardentia is a serif typeface, supporting a wide range of Latin based languages and Greek (see TechSpecs). Ardentia was created inspired by most serif text font used in book printing. Smooth curves help the flow for long text reading. Ardentia is designed with medium contrast in order to have all parts of the letter’s shape well printable in book size printing, for high or low resolution printers, high or low paper quality. Other than book printing, the medium contrast also gives good visibility in display thanks to its clearness. Thus, Ardentia will work well for both printing and display, webpage or electronic/digital display. Ardentia consist of 4 weights: Light, Regular, Semi-bold and Bold, plus matching italics. The thickness of the lowercases (vertical stem) of the regular font is drawn at about the middle of the thickness of similar kind (serif) and similar size fonts. So Ardentia is the right choice for both textbook and display altogether. Being a normal serif typeface, Ardentia is applicable to a wide range of usage. From book typing, news, magazines notes, cards, sticker texts, banners, to logos and the others design mean. Enjoy using Ardentia for your projects.

A common creation: (to pass from one hand to the other): For the first time, various hand-signs from diverse sources are unified into one single visual style. This compendium is the result of 15 years of incubation and 7 years of creation. In his travels throughout the world, graphic designer Jean-Benoit Levy, principal of the visual studio AND, has collected pictures of multiple hand signage. Uncertain what to do with those signs, he kept them year after year until the idea came to unify almost 200 handsigns into one single family. In accordance with this entire collection, the name of the typeface is a mix: "h-and-s". A global collection: (To put in good hands): We all have one thing in common: Hand-signs are an international language, they are meant to be understood by all of us. Each of us regularly comes in contact with modern hieroglyphs such as the hand-sign-codes that are so prevalent in our daily life. This way of communication belongs to no one in particular and to all of us in general. Even if the sense of certain signs varies from one culture to the other, there is a common hand-sign language. We are surrounded by this language of handsigns each time we step in a store, we eat, open a container of milk, we clean up, use package of wash-powder, by shaving, when we work, use tools, at home, by tearing the envelope of a condom, by traveling, etc. When we encounter these signs, we all understand them easily. A visual connection: (To go hand in hand): This typeface is a global visual statement. Collecting, ordering, redrawing, unifying. Reconstructed and assembled into one original alphabet, H-AND-S is a unique and complex signs program. Our choice is based on daily gestures and global hand-codes. Logically this typeface starts with the "American Sign Language" and expands on two type-variations, each on two levels of keyboard. The international team of H-AND-S would like to send his special thanks to all of the anonymous graphic designers throughout the world who designed different hand-signage and who influenced and inspired to create such a sign collection into one unified family. We, the global nomad team of AND, hope that you will enjoy our H-AND-S. Additional Credits Production: Studio AND. www.and.ch. Concept, Idea & Creative Direction: Jean-Benoît Lévy, Switzerland / USA. Research & Sketches: Eva Schubert, Germany. Illustration, Graphic Design & Visual Fusion: Diana Stoen, USA. Transfer, Adaptation & Refining: Moonkyung Choi, Korea. Finalization & Checking: Sylvestre Lucia, Switzerland. Coaching & Technical Advice: Mike Kohnke, USA. Creative Energy & Implementation: Joachim Müller-Lancé, Germany / USA.

Hanleth family is a combination of script and all cap sans. This duo font was made and inspired by old vintage script and simple sans, polished with a little bit of modern style. This font family is a vintage, authentic and hand crafted piece of typeface. 1. Hanleth script : comes with clean and rough version. with some swash and alternates that make it looks unique and elegant. 2. Hanleth sans : comes with clean and vintage rustic version. a simple sans that generally good for tittle and body text. 3. Hanleth icon : comes with 52 vintage rustic icons is perfect to boost the vintage feel of this family. Hanleth family is perfect to make logotype, product packaging, tittle for poster or greeting card, promotional message, branding project and more.

Cursed Stone is a spine-chilling display font that will transport your designs to a realm of dark enchantment. Designed in large letters and with a bold weight, this typeface demands attention and exudes an aura of haunting mystery. Each letter is meticulously crafted with eerie stone texture details, adding an ominous and cursed touch to the font. The large size of the letters enhances the font's imposing presence, making it impossible to ignore. The stone texture details in each letter of this font bring an authentic and sinister feel, as if the font was chiseled from the depths of an ancient cursed monument. These haunting details add an element of mystique and darkness, immersing the viewer into a world of malevolent enchantment. The combination of bold weight and stone texture gives Cursed Stone a rugged and formidable look, evoking images of cursed relics and forbidden ruins. The letters appear to hold secrets from the past, carrying a haunting energy that captures the imagination. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Cursed Stone fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. 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.

Distoria is a signature script. This is a classic thin font with an italic style. This beautiful and classic script also includes several modern rounds that can make your work look elegant, sweet and perfect. Distoria will be suitable for logos, branding projects, household designs equipment, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greetings card, and all the other beautiful projects. Distoria includes support for multiple languages. This font also includes several ligatures and alternatives Style Set Style For those of you who have good software OpenType function (Corel Draw / Photoshop / Illustrator / InDesign). If you don't have a program that supports the OpenType feature like Adobe Illustrator and CorelDraw X, you can access all alternatives glyphs use Font Book (Mac) or Character Map (Windows): How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Redbird is a modern hand-painted script with an irregular baseline. Rough edges and imperfect lines give to this brush font a unique and trendy look. All glyphs have been carefully painted giving your words a wonderful flow. Fat and thin stroke in this font impresses the harmony. Want to give your projects an organic, hand-painted look? Redbird font contains 584 glyphs, with inky lines, and "perfect or imperfect" painted edges, including a few extra character alternates, swashes and ligatures for a genuine hand-lettered effect. This font includes OpenType features that may only be accessible via OpenType-aware applications, a Central European language support. Bonus: 60 useful ornaments and a lot of catchwords that you use for the most demanding design project! Redbird looks lovely on wedding invitations, greeting cards, logos, business cards and is perfect for using in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and more!

It’s alive! Insigne’s new creation, Daito, is now functional, built to process your logos, business cards, magazine layouts, packaging and more without the slightest glitch. But this new slab serif is no heartless churn of the same factory nuts and bolts. Daito is designed to greet your reader with a friendly face. Inspired by types from the era of the Space Race, this new take on some old faces brings a contemporized, unique set of serif forms to the font race. Daito comes complete with a variety of weights to help you find the best settings for your current needs or moods. Need soft and playful? Daito light communicates its message gently with softened serif. Need a different feel with more authority? With the touch of a few buttons, engage the powerful Black or striking Bold. Additional features with Daito include stylistic alternates, ligatures, titling capitals and small caps among other typographic features. Please note: use magical OpenType-savvy applications such as Adobe Creative Suite, QuarkXPress, etc to keep your font from malfunctioning, shorting, attacking people, or attempting a world takeover. Daito also speaks Western, Eastern, and Central European languages. However, Japanese is not available for this edition. It’s not every day you find a top-of-the-line font like Daito. This machine can handle most anything on your list, short of folding your laundry (though it may make your laundry look nicer). Don’t wait. Order yours today while supplies last.

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

Delugional is an Atlantis theme typeface, it's character set is an imaginary alphabet inspired by Greek style scripts mixed with Classic Latin. This font is a display font family of two weights, Regular and Bold. It can be used for various creative/mythological and fantasy theme projects from book covers to games or movie titles. There are some OpenType features such as Stylistic Alternates and Discretionary Ligatures along with some extra symbols like sun, moon, snake and the stylised map of Atlantis in place of stylistic set 02 of uppercase "O". I have also created a font presentation video you can view it on youtube here: https://youtu.be/f7bKdoffWnI I hope you enjoy this one as much as I did while creating, Good luck with your project!

Madromit(ma-do-ro-mi) is a somewhat nostalgic display font. Do you remember computer advertisements in the 80s and 90s? Yes, it is the most excited period in the history of computer. We call the design in this period Primitive Digital Design. Madromit is, so to speak, the revival or reconstruction of the primitive digital type in the period. The structure and elements of this font are very simple and the key features are geometric shape and simple griddy design with rounded corners, oval bowls, and right‐angled joints which we used to see in the primitive period. In addition to this, Madromit has one more characteristic feature — classic engraving font —. It is called Open Style. Open style is one of the classic method to decorate and emphasize the font. Our aim is the synergy by the mixture of primitive digital design and classic engraving method. This mixture makes new impression we have never seen before. Madromit family consists of 5 styles for stacking color font. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Madromit "Standard" style is the base of this font family. You can add open effect by stacking "Fill" layers over the Standard layer. Instruction 1. Type your text as you like. 2. Set font-name "Madromit" and font-style "Standard". 3. Set color of "Standard" layer. 4. Duplicate the "Standard" layer to make "Fill" layer. 5. Set font-style "Half Fill" or "Full Fill" and new color of upper layer. Madromit Standard, Half Open, and Full Open style can be used solely.

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface lacks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface laks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

Tilp Barde is a striking, moderately dynamic design suitable for many different typographic tasks. Its individual ductus is inspired by handwriting, however without calligraphic embellishment. There are no serifs but tiny endings which lead to think of wood-carving.