This typeface came out as a side idea while I was working on one logotype. Suddenly I came up with an idea of creating “tuned” version of the typeface, based on that logo. The “tuning” turned me in a completely different direction and in a few hours of haste I was looking at a completely different typeface. A few days later I made this font available for free, since it wasn't meant to be at all :-). A few months later, I saw my typeface used in the menu in one pizzeria. I was amazed and glad and happy and proud, all at the same time. Oh, by the way: the logo I was working on was of different style and even of another stem’s widths. So, this is truly a font of it’s own design. Naftalin has both Latin and Cyrillic sets, since it was used with both.

“Grendel Regular” Evolved out of a hand lettering piece I designed for a record album (Royal Crescent Mob). Inspired by old gothic forms, my intention was to create a playful letter form that could be used in an antique as well as a modern context such as food product packaging or fun video projects, etc.

Synthica is the advanced version of a geometrically constructed typeface – designed for a thesis project in summer 2010 in Pforzheim. In the context of electronic music and the profound analysis of its parameters, this typeface is primarly based on a strict modular grid. Additionally, the ascender, descender and the x height had slightly been increased in order to even out a visual difference in size between the glyphs. The name „Synthica“ dervives from a basic principle in electronic sound synthesis. Sinus, triangle and square are some of the basic waveforms in the synthesizers’ oscillator section and were thus used as geometric modules for the grid. The modularity and geometry also derive from different structures of electronic music. The strong emphasis on diagonal lines creates a rhythmic typeface that connotates electronic music patterns with highly recognisable glyphs. The contrast between digital and analog is another basic idea of this typeface: while Synthica Outline has a more synthetic and fragile character, the filled version Synthica Black serves as the analog counterpart.

The type “Vandalismo 26” is a tribute to the calligraphy style that 'screams' over the front of the buildings in the center of São Paulo/Brazil. This underground calligraphy, known as "pichação" or "pixo”, is a movement that expresses disagreement and rejection against the system. For some critics, this “vandalism” is considered to be the most disruptive and conceptual contemporary art today. It is a type to be used in headlines. Vandalismo 26 is a mix of the chaotic pixo style representing the nonconformity of a generation. It is a protest to the system in a typographic format.

Anglaise was designed for display and it likes to be big and present, filling the width of a whole spread. The repetition of vertical black and white space holds the typeface together and the contrasting straight and round shapes add the personality... for even more... use the OpenType features, and Anglaise will start merging and building new characters for you to play around with... Enjoy!

Ageitha is a modern and luxurious handwritten font. Elegant and stylish, this font will become your top choice in no time. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma’il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today. The Mashq font family by Arabetics includes three styles of Mashq. The first is Mashq regular, which closely follows the script style of Musḥaf ‘Uthman (currently displayed in the Topkapi Museum in Turkey) with only the initial and final Haa’ baselines shifting. The second is Mashq Maail, which emphasizes the features of the Ma’il style shared with Mashq. The third is Mashq Kufi, which closely follows the script style in an adequate sample from the Quran manuscripts of the Bergstraesser Archive. All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. Hamza was treated as a vowel in the Mashq and early Kufi manuscripts. Kashida is a zero width character. In the Mashq fonts, inserting one Kashida before the final ‘Ayn glyph group will trigger alternative shapes. In the Mashq Kufi fonts, inserting one Kashida (or two) before the final Yaa’, ‘Ayn, and Ḥaa’ glyph groups will trigger alternative shapes. The Mashq font family by Arabetics was designed to be as compatible as possible with the Arabic keyboard and Unicode alphabet used in computers today. Calligraphic variations were implemented only when they marked significant and permanent script features.

Violinist is a vintage script font. As the name suggests, this font is inspired by classic billboards/boards. Besides that, I also combine it with a script style and it’s a little irregular in its shape style. I strengthen the vintage/retro impression with the character ligatures, there are 140 ligatures in this font. But if you want to use this font with a neater impression, you can disable this ligature feature. This font is perfect for projects with vintage/retro and classic themes. But this font is also suitable for logos, branding, greeting cards, invitation cards, advertisements, titles, healines, book titles, stickers, packaging, quotes, posters, t-shirts/apparel, billboards and others. This font is also support multi language. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

Bluewind is an elegant script font that is designed to replicate the beauty of a handwritten signature. Every letter in this font is crafted with a subtle and low-contrast approach creating an effortless appearance reminiscent of an artist's signature on paper. The calibrated spacing and graceful curves ensure that it remains not only visually captivating but also easy to read. You can use this font in headlines, logos, posters, invitations, name cards, branding materials, and many more.

Hi, Introducing the latest styles Hello melodi Script with the kind of modern hand scratches, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic. Thank You.

Introducing, Slightly Marker! Slightly Marker is a caps font with street style brush. It's contain uppercase and lowercase in different style, number, symbol, and also with multilingual support! This font also contain opentype feature for adding line under a word, You can access it from ligature, simply type underscore + number (1-5) in the middle of the text. For example: Mar_3ker. You can use this font for any project such as a branding, poster, or quotes!

Julietta Madelyne is a delicate brush script font. You can use this font in a wide range of works such as logos, covers, posters, quotes, product packaging, merchandise, social media and much more! This font is already PUA encoded so you can access the alternate glyph very easily. Feature : Alternate Glyphs Multilingual Language Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word. Thank you for your support.

Lina Serif is an antiqua balanced between classic and modern. The design focused on the combination of flowing shapes and partially edged transitions, that give Lina her character. The font plays with a high line contrast in combination with dynamic shapes. This makes Lina a casually elegant display font. The terminals remind on floral shapes. Lina gives your design a human, natural touch. Lina Serif is available in 4 weights or as variable font with infinitely variable interpolation of weight.

Minimo Font Family comes in 4 weights; Normals and Obliques. To have an eye-pleasing view, the corners are rounded and the lowercases are made smaller than the standard. With its soft structure, it is aimed to be legible even in the small sizes and also to be suitable for usage as webfont and application font. Moreover, with this font family, you can create eye-pleasing, cute and also nice works such as posters, printings, t-shirts, adds, magazines etc.

Introducing the new serif and sans serif typeface SKYSCAPER. Inspired by NY city this elegant, simple, yet distinctive styles look great in posters, leaflets, books, magazines, presentations as well as logos and blog posts. The font also has two additional styles with different design of serifs. What is included in the pack of font family: Skyscraper Condensed Skyscraper Condensed Serif One Skyscraper Condensed Serif Two The font family is Latin multilingual and has uppercase letters, lowercase letters, numbers and basic punctuations.

Delgado Sans is a logical extension of Delgado. Not only were the serif removed, some glyphs were updated. Delgado Sans is strong, elegant and playful and very good for titles, fashion situation, posters etc... Numerous ligatures vary your design.

English Engravers Roman is inspired by the beauty and eccentric detailing of British stone carved lettering. After observing many beautiful inscriptions around London and southern England, Robbie Smith decided to create a font family in homage to this rich heritage. English Engravers Roman features a set of beautifully balanced uppercase Roman, and a characterful lowercase alphabet with some endearing quirks. Included in the each font are two forms of lowercase 'q', one very similar to an uppercase 'Q' with a tail, and a traditional 'q'. Each font in the family features a comprehensive character set with many ligatures, added to enhance letter spacing. The fonts all feature an additional set of old style numerals. Many extra characters and ligatures can be accessed via the 'insert glyph' functions in graphic design software.

Response is 100% handmade with a worn look to it. Comes with 5 different versions of each letter, and by using the contextual alternates they automatically cycles as you type! Response is good if you need a response regarding your next project - that being an invitation, packaging or something that needs a worn handmade look! Besides that, Response is full of international characters!

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

Lorek Lorek is a font that you can instantly download. You can use this font in Photoshop, Illustrator, or any other program that will allow you to import fonts. Please see the listing image for all characters and symbols included in this font pack. This font is for personal and commercial use. Please note that this is a digital download, you will not be sent anything physical. All sales are final. Refunds or exchanges are not accepted.

The font is well suited for stencils. Can be successfully used in outdoor advertising, a poster and any large inscription. In small size, font details may be lost. The characteristic stylization of the font makes it possible to use it in a variety of works. There is a regular and oblique outline.

Two-flavour stripes feature in this geometric font that is reminiscent of the Deco styles that adorn seaside ice-cream parlours and arcades.

Quadratish is the nice-looking ultrablack fonts. It have solid and outlined styles; they can be combined in order to get third style.

This font family is based on the letterforms of a fin-de-siècle sans serifs, and comes in two versions - Roman and Shadow.

Aure Zeritha emotes the unassuming charm of fairytale romance. The modestly adorned forms of this decorative serif font engage the reader with a subtext of innocence. Zeritha brings an ingenuous romance to text and titles and a guileless promise of adventure to astrological expressions and chartwheels. The breadth of typographic textures revealed in its bold and italic forms is given depth by the charm of its small-caps and the delight of its curly alternates. Zeritha is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets, available in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Zeritha stands its own as a text font, but for extended text, try pairing Zeritha with its distant cousin, Aure Declare. Use Zeritha where the fairytale romance is needed; use Declare for tight text and practical contrast. Give Aure Zeritha a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Frederic W. Goudy designed three weights of this friendly-looking sans serif font from 1922-1929 for Lanston Monotype in the United States. Goudy was attempting to impart freedom and personality to the sans serif form at a time when geometric sans serifs, such as Futura, were gaining rapid world-wide popularity. To achieve this challenging goal, he looked to lapidary inscriptions and manuscript writing for inspiration. He included elements such as slight swellings of terminal strokes, slab serifs on a few of the caps, alternate uncial forms, and a few swash strokes. The result is uniquely Goudy: charming, instinctive, and just right for adding warmth to magazine or advertising layouts. The design staff at ITC updated and filled out the family for a total of eight styles in ITC Goudy Sans. ITC Goudy Sans® font field guide including best practices, font pairings and alternatives.

Haido is a new contemporary grotesk typeface influenced by post-modernism style. This typeface is has very neutral look, thus making this new typefaces has versatility for use in all kinds of modern design. Haido comes with 18 Styles including 9 Weight, italic and variables font. The small detail of inktrap in this typeface, making Haido is has high legibility in small size and very useful especially for printing needs. And last but not least, Haido has several alternates characters, ligatures and covered more than 100 languages including 2 script latin and cryllic.

Bingana This pair was inspired by kids movie poster design that i saw on some gallery, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. We improve with handmade to make a playful feel, this font is bold so it can look strong if you use it for branding or even title for your poster design with playful decorative style. Opentype features Bingana font has 175 character set included Bingana Font is very good looking in playful decorative logotype, labels, t-shirt prints, product packaging, invitations, advertising and others. This fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Actium is a contemporary multilingual sans serif typeface developed to help perfect typography automatically. Type Mafia has focussed on words with odd combinations of capital letters and numbers, such as product names and postal codes such as WD40 and H1N5, jump out of the text. They sit awkwardly together as the numerals have been designed to work with the lowercase, not the uppercase letters – affecting readability.To fix this Type Mafia invented Smart Capo™. Smart Capo™ Smart Capo is a feature that automatically activates once you type an uppercase letter together with a number. When a capital letter is sat next to a numeral, Smart Capo converts the letter to a mid-cap — a contemporary alternative to small caps — and the default old-style numeral to a lining numeral. Actium’s mid-caps and lining numerals have been designed with the same height (between cap and x-height) so they sit comfortably next to each other and fit more harmoniously into text. Smart Capo applies equal attention to capitalised words without any numbers, such as NAVO and USA, and are also automatically set into mid-capitals. Working on its own, Smart Capo saves time and money for the typographer — taking the pain out of text formatting — and makes it a more pleasurable experience for the reader. This feature is made possible by the use of ‘contextual alternates’, an OpenType feature used in modern font software, working with a set of characters specially designed at mid-cap height. By default these changes automatically take place so it doesn't need to be switched on, it will just work. Actium Actium’s design has an unusual diagonal contrast — much more common in a serifed face than in a sans serif — giving it more bite. The typeface looks elegant when set in large sizes and remains very legible when shown in small sizes. The family consists of six weights in two styles, making a dozen fonts. Weights range from light to black in roman and true italic. All fonts are fully loaded with functional elements. Actium boasts an extended Latin character set and with Greek. This means a wide range of Western languages are supported: perfect for use in bilingual publications and packaging. For numerals, each font includes old-style and lining figures in both proportional and tabular widths, with superiors and inferiors. These allow you to select the right set of numbers for the right task.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

Smart, legible and elegant, Gravesend Sans is a based on the unique typeface used for the iconic grass-green signage for the Southern Railway. In existence from 1923 to 1948, when the network was nationalised, the Southern Railway linked London with the Channel ports, South West England, the South coast resorts and Kent. The same design was also used for the ‘hawkeye’ signs on the London, Midland and Scottish Railway, differentiated by black letters on a yellow background. Reference for each letter was taken from vintage ‘target’ station nameplates and other platform signage. The rarest letters were the Q, seen in Queens Road Battersea, the X, seen in East Brixton, and the Z, used in Maze Hill, site of an infamous train crash in 1958. Being hand-made, the letters often differ in width and thickness. There was no lower case. The Bluebell Railway, a heritage steam line, runs over part of the old Southern Railway network and uses a very similar type. The design of the numbers differed considerably, but here have been taken from the Device 112 Hours font Smokebox. As well identifying platforms, they were used on the front of the steam engine’s smokebox, hence the name, and stylistically are more in keeping with the letters than some of the squarer versions that can be seen in old photographs. William Caslon IV is credited with the first Latin sans-serif type, shown in a 1816 Caslon specimen book. ‘Two Lines English Egyptian’, as it was called, was caps-only, and there are several other correlations between that type design and this one. Includes a selection of authentic arrows and manicules, plus abbreviated ligatures such as ‘St.’ (Saint or Street) ‘Rd.’ (Road) and ‘Jn.’ (Junction). The Cameo version includes many graphic banner elements that can be freely combined.

Aptifer Sans and Aptifer Slab are two 21st century typeface families created by Mårten Thavenius. Each family has seven weights, in roman and italic respectively, making 28 font styles in total. A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined with the openness and legibility that comes from the humanist tradition. The sans serif part of the family, Aptifer Sans, is designed without excessive details disturbing the reading. Its sibling, Aptifer Slab, with its wedge slab serifs is more eye-catching but still suited for text settings. The italics fit well into the text flow of the roman. They are a bit narrower than the roman and have cursive characteristics. Both Aptifer Sans and Aptifer Slab are highly legible typefaces and can be used both in print and on screen.

Tall, thin and elegant, Marian Churchland’s fonts are very much like her.. and now available from those awfully nice chaps at Comicraft to allow you to pretend that you are too! Marian Churchland was born in Canada in 1982, and was raised on a strict diet of fine literature and epic fantasy video games. She has a BA in Interdisciplinary Studies (English Literature and Visual Arts) from the University of British Columbia, and has been doing professional illustration work, including book covers and magazine articles, since she was 17. Last year, she became the first woman to solo-illustrate a CONAN story, and this year she’s illustrating three issues of ELEPHANTMEN for Image Comics. See the families related to Marian Churchland: Marian Churchland Journal.

Create your own world with the Picture Yourself collection! Picture Yourself is a graphic image collection, which functions a font family instead of hundreds of EPS files. The family is made up of 24 different symbol typefaces. Designed by the collaborative effort of Karin and Peter Huschka, both living in Germany, Picture Yourself was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH. The symbol library found in Picture Yourself offers an astounding array of high-contrast, simple forms, which may be used happily either separately or together in your layouts. Just as the fonts themselves stem from two designers working in collaboration, the imagery of the collection itself stems from two different influences. In large part, the font family was inspired by work displayed in the Frankfurt-based German Architecture Museum's 2003 Oscar Niemeyer exhibition. The photographs and sketches that were displays there inspired the first ideas for the Picture Yourself world of images. More of the typeface's design, as well as its name, were inspired by the underlying philosophy of the Beatles' music, especially the classic song from Lennon and McCartney, "Lucy In The Sky With Diamonds." In comparison with other large pictographic type collections, all of the characters in Picture Yourself fonts share the same horizon. The glyphs themselves are also drawn so that many of them can be combined with one another, creating tall or wide decorative compositions. Additionally, the proportions of the forms of the pictographs are aligned with various industry standards, in order to harmonize workflow. Picture Yourself Portraits (3:4), Landscapes (6:4), Cinema (9:4), and Panorama (12:4) each adhere to one of several photo or video formats. The Picture Yourself family of fonts can best be used with graphics applications like Adobe Photoshop or Illustrator, where different characters may be assigned to different layers, each with their own color.

The Kaktis collection features eleven typefaces that have spikes or spines. Some have short spikes, some long, some sparse spines and others abundant spikes. They are novelty fonts with limited uses, but there can be times when a typeface of this sort may be appropriate, perhaps for a sharp rebuke or a pointed reminder. These faces were constructed in the mid 1990s using a font distortion program.

Nyala is an Ethiopic font designed by John Hudson and Geraldine Wade. The Nyala font features Ethiopic harmonized with Latin characters for bilingual documents. The Nyala typeface is named for the Mountain Nyala, a native antelope found in the mountains of Ethiopia. The Ethiopic characters in the Nyala font were designed by John Hudson based on initial drawings by Geraldine Wade. The Latin characters in Nyala were designed by John Hudson to be in harmony with the Ethiopic characters. The Nyala font supports Ethiopic, Amharic, Tigrinya and Tigre, and also other modern tongues of Ethiopia and Eritrea including Ge'ez - the ancient scriptural language. View Nyala Type Specimen (PDF)

Eksja is a modern slab serif available in four weights, each with a corresponding italic. All the fonts in the family have small caps, the extended latin character set, diacritical f-ligatures, enclosed numerals (numbers in circles) and case-sensitive punctuation. The general design of the typeface has been with a strong human touch in mind. The ends of the serifs have been given a subtle rounding, just enough to take the edge off which, when coupled with the largely humanist structure of the design, creates an open, friendly and approachable design, abandoning the usual geometric severity commonly associated with slab serif typefaces. Eksja contains quite a comprehensive numerals system. Obviously, each font has the standard proportionally and tabularly spaced lining and old-style figures but, crucially, the tabular numerals share the exact same width in each font variant. That means that you can choose to use the thin, regular, bold, black and their italic forms all in the same setting and they will always line up. In addition to the 'normal' numerals there are super-script and sub-script numerals and OpenType fractions that can be automatically composed as you type. There are also the enclosed numerals, numbers inside a circle, that are useful for numerically listing items and, thanks to the wizardry of OpenType, they can contain any number of digits (typically, enclosed numerals are precomposed single digits, only encompassing the 0–9 range, the enclosed numerals in Eksja can go to double digits, triple digits or, in fact, any number of digits*). *The automation of the enclosed numerals is accessed via either "Stylistic Set #1" or "Stylistic Alternates" which requires the use of an application that supports OpenType stylistic sets or stylistic alternates, such as Adobe's InDesign or Photoshop.

These fonts will join-as-you-type in your OpenType application as shown in the posters above. Choose Use Contextual Alternates option in your app to get basic recommended baseline joins for teaching. Additionally, use can choose from 7 Stylistic Sets of alternative letterforms that are so important for Teachers. Create ‘pen lifts’ anytime too! Fonts display unjoined by default on this website and are delivered that way - joining is controlled by your application. Free to download resources Stylistic Sets and how to access the alternative letters feature in these OpenType fonts Purchasers of this font package may use their Order Number to receive a free Copybook PDF by Rosemary Sassoon recommended for effective teaching