Courteous is absolute elegance. It's semi-condensed serif font with straight and consistent shape in every letter that will give a taste of professional feels to any design. Adding ligature will make it more stylish and modish, very suitable for fashion or beauty projects. Courteous also have the bold version that will looks more gentle. FEATURES: Regular and Bold Version Uppercase and Lowercase are the same 35 Ligature that only works with lowercase, so you can access regular letter by using only uppercase. Ligature: od ai ad ap ed eb ab ib ob ud id ub ou rt yl al le an lu ur gn ha ri ce ho ry ev in ro um ox ve as on Numbers, symbols, and punctuation Multi language support

Beauchef is a sans serif typeface originally created to meet the needs of Centro de Modelamiento Matemático de la Universidad de Chile (University of Chile Center for Mathematical Modeling). Beauchef is a typeface with rough strokes that features subtle optical compensation and does not strictly follow the laws of perception. This typeface might not be too cheerful, but shows a very particular idiosyncrasy of form. Beauchef is as tough as advanced mathematics; however, it is as legible and exact as numbers themselves. This is an avant-garde typeface that resembles the development of mathematics, but at the same time it is as conservative, calm and respectful as clients who require its services. Beauchef is so astonishing as mathematical formulas that mathematicians work with, but at the same time it is as humble as resulting figures.

Kautiva is a comprehensive modern sans serif family that includes true italics, small caps, and unicase variations. Kautiva was developed to be efficient in both text and display environments. Kautiva serves as a refreshing middle ground between serious geometric and overly humanistic design. This gives it a balance, allowing significantly more flexibility than is normally expected from a sans serif typeface. Versatile in its functionality, Kautiva is also extensive in its features. The OpenType format Kautiva Pro family is available for layout architects who want to take advantage of the numerous features of the format: from true small caps to a variety of ligatures and stylistic alternates, through proportional and tabular figures and complete support for a multitude of Latin-based languages, as well as Cyrillic and Greek scripts.

Kautiva is a comprehensive modern sans serif family that includes true italics, small caps, and unicase variations. Kautiva was developed to be efficient in both text and display environments. Kautiva serves as a refreshing middle ground between serious geometric and overly humanistic design. This gives it a balance, allowing significantly more flexibility than is normally expected from a sans serif typeface. Versatile in its functionality, Kautiva is also extensive in its features. The OpenType format Kautiva Pro family is available for layout architects who want to take advantage of the numerous features of the format: from true small caps to a variety of ligatures and stylistic alternates, through proportional and tabular figures and complete support for a multitude of Latin-based languages, as well as Cyrillic and Greek scripts.

During the spring of 2006, while creating this typeface, I was reading Praying For Gil Hodges, by Tom Oliphant, who grew up a Brooklyn Dodgers fan. I grew up a Los Angeles Dodgers fan. My mother worked as secretary to the president of the old Triple A LA Angels Baseball Team. In 1952 when she was pregnant with me, she left the team. They gave her an autographed baseball and a puppy named Angel. That's the dog I grew up with. Toward the end of the book the author talks about Gil Hodges' favorite ballplayer, a slugger for the LA Angels, Jigger Statz. I thought, could it be? My mother died two years ago and I got the team baseball. Sure enough, the first name after the dedication to my mother was Jigger Statz.

ITC Ironwork is the work of Serge Pichii, who was inspired by a piece of decorative lettering done by Jan Tschichold in the early 1920s. Tschichold had interlocked a series of rough sans serif letters and embellished them with scattered decorative elements. The original was of only capital letters, touching and overlapping like an ironwork gate made of letters. Pichii completed the typeface with lowercase forms and smoothed the edges. The scrolls of the capitals were extended to the lowercase and Pichii based them on iron scrollwork he found in Vienna and Prague. A lot of attention was paid to the elements of the typeface in order to 'smooth out' and balance proportional relations between the elements," says Pichii. ITC Ironwork is great for signage and display but also works well in short texts."

ITC Cyberkugel is the work of British designer Timothy Donaldson, who occasionally likes to write with an extra-fine ballpoint pen. I like the spindly scrawny forms that it gives me when I follow all the usual 'italic' writing conventions", he says. And there lie the origins of ITC Cyberkugel, although the creative process was moved from pen and paper to software and a Wacom tablet. "I like the fact that people will be buying it to give them a 'human', 'organic', 'non-digital' look, and yet no ink has soiled paper. Although the movements of the hand are still the essence, the whole thing was created in cyberspace." The name comes from combining cyberspace and Kugelschreiber, the German word for ballpoint pen. ITC Cyberkugel is a fresh interpretation of traditional calligraphy."

Millie is a stressed, geometric script who spends her days as industrial lettering and her nights paired with blackletter on the patches of motorcycle gangs. Millie was weighted by the conventions of broad nib calligraphy, inspired by the Milwaukee Tools logo, and finds herself best used in logos and titles. She was designed to be used on about a 20 degree angle, though she looks just fine on a level plane. By using opentype, many ligatures, and two sets of stylistic alternates, Millie was developed to look great with any string of letters. Access the first stylistic set for a disconnected script look, and the second set for even more connections and fluid script than standard. Millie Round takes the edge off a bit, giving the entire set a more approachable and versatile feel.

Anyone old enough to remember either the radio or television version of “The Adventures of Ozzie and Harriet” pictures Ozzie Nelson as the easygoing father figure who never seemed to have a real job – he was always hanging around the house. In truth, the handsome young Ozzie was a bandleader in the 1930s and 1940s and ended up marrying his ‘girl singer’, Harriet Hilliard. A piece of sheet music from 1933 for “You Have Taken My Heart” was one of the songs Nelson featured with his Columbia Broadcasting System Orchestra. The title was hand lettered in what can only be described as a slightly eccentric Art Deco Sans serif. Redrawn and cleaned up to reflect more uniform stroke weights, Bandshell JNL is now available in both regular and oblique versions.

"To us it ain't vandalism. It's just letting the people know: We grew up here. This is our neighborhood. And as they pass by they know where we're at." – Los Angeles gang member Graffiti is equivalent to local news, its intended purpose is to inform general populace where gang members are, where they operate, as far as territory lines, and which neighborhoods are at war. Gang Graffiti can be used for: – Marking territory with graffiti. – It's a form of gang advertisement. – Letting people know who's in the gang, living, dead, or in prison. – Which neighborhoods they are at war with. – Who are their allies. Graffiti has along history, specifically Los Angeles gang graffiti, which has has been around since the 1930s. South Central typeface includes uppercase letters, numbers, and select punctuation glyphs.

Engraving inspired typeface The AW Conqueror Carved encapsulates perfectly the lettering styles in fashion during the 19th century quite often in the frontispieces of books. It wasn’t rare to see these kinds of typefaces, with their variations in depth and relief effects, adorning boxes and other forms of packaging of the time. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

The rather wide, caps-only Monotype Engravers family imitates scripts that evolved from copperplate and steel plate engravers hands of the nineteenth century, which were a quite expressive medium! Monotype Engravers' letters show a strong contrast between thick and thin strokes and have sharply cut serifs. In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman."" Shortly thereafter, American Type Founders, Inc. (ATF) released another successful ancestor of this design in 1902, ""Engravers Bold,"" designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Also made available by Lanston Monotype at the beginning of the twentieth century, the Engravers faces soon became a popular choice for letter heads, advertising and stationery.

In the early 1960s, the German Master Printers’ Association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design a new version of Claude Garamond’s serene and classical Roman. Its bold, and particularly its italic styles are limited by the requirements of Linotype casting machines, forcing the character widths of a given letter to match between styles, giving the italic its characteristic narrow f. The family’s name is taken from Jacques Sabon, who introduced Garamond’s Romans to Frankfurt. Sabon has long been a favorite of typographers for setting book text, due to its smooth texture, and in large part because Tschichold’s book typography remains world famous.

Alonzo is a modern cosmopolitan who speaks several languages fluently. Alonzo comes in six weights and two widths, as well as corresponding italics, making a total 24 styles. Alonzo is an elegant, simplistic, high-contrast sans that is at home in high-end fashion and cultural environments, as well as in the world of restaurants and nightclubs. While Alonzo Condensed is more illustrative and works best in display use, headlines, logotypes, labels and all that, Alonzo Regular works in a wider range of contexts, from body text to editorial and catalogs and more. Alonzo is equipped with several OpenType features such as oldstyle figures, small caps, Standard Ligatures, Superior and Inferior Figures. In addition Alonzo has Stylistic Alternate lowercase "a" with round Bowl. Me llamo Alonzo. Mucho gusto, piacere di conoscerti, nice to meet you!

The rather wide, caps-only Monotype Engravers family imitates scripts that evolved from copperplate and steel plate engravers hands of the nineteenth century, which were a quite expressive medium! Monotype Engravers' letters show a strong contrast between thick and thin strokes and have sharply cut serifs. In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman."" Shortly thereafter, American Type Founders, Inc. (ATF) released another successful ancestor of this design in 1902, ""Engravers Bold,"" designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Also made available by Lanston Monotype at the beginning of the twentieth century, the Engravers faces soon became a popular choice for letter heads, advertising and stationery.

What does a 1932 movie about a love affair between a circus' trapeze artist and a sideshow "little person" have to do with the 1960s counter-culture? They both share some commonalities. The title card for Tod Browning's "Freaks" inspired the lettering design for Hippie Freak JNL. It's in a retro style that was embraced by the youth movement that had its epicenter in the Haight-Ashbury district of San Francisco. Circus performers with birth defect abnormalities were displayed in what was referred to as "freak shows"; while young men with long hair and beards who sought peace, love and an end to the war in Vietnam were commonly referred to as "hippie freaks". As the saying goes "the more things change, the more they stay the same".

The single-named, multi-talented designer Joluvian now lives in Madrid. But he grew up in the “Caribe” of Venezuela, where thick jungles meet endless beaches, and fecund trees bear juicy fruit – a tropical paradise where music and dance vibrate in the humid air. The Tropical pack, designed by Joluvian and digitized by Ale Paul, echoes the spirit of his birthplace. Its three faces are casually stylish – a bold, wet-looking display script, an inky, textured brush script, and hand-penned capitals with a felt-tip look. Like a fruit cocktail, each ingredient is tasty on its own, but they combine even more deliciously. Sprinkle the included catchwords, shapes, and bursts in your layout to complete the easygoing, Carribbean vibe. Each face includes alternates and support for multiple Latin languages.

Arnold Therhoernen. (Arnoldus ther Hornen, Drucker des Dictys , Arnold ter Hoernen, Arnold ther Hoernen, Arnoldus TherHornen.) Who was this guy? He was a printer active in the city of Cologne, having graduating from the university there. He learned his craft under Ulrich Zell. He printed books from 1470 to 1482 when the plague carried him off. Was he just another printer of the era? No, he brought out the first edition of the "Fasciculus temporum'' (The most popular work by a living author at that time.) And he was the first to use both a title page and page numbers. His page numbers, an idea probably suggested to him by Werner Rolevinck, were interesting in that they were centered half way down the page on the outer margin and were set in Roman Numerals.

Sweet Kulfi - Quirky Display Font Introducing "Sweet Kulfi", a quirky display font that adds a playful touch to your designs. Inspired by hand-lettered bold typefaces, this font is perfect for those looking to inject some fun into their projects. With both uppercase and lowercase versions available, you can mix and match to create unique designs that stand out. Sweet Kulfi also comes with a ligature feature that adds an extra cute touch to your work. For those looking to add a playful yet stylish touch to their designs, Sweet Kulfi is the perfect choice. This font works well for a variety of projects such as logos, titles, cover designs, headlines, apparel, comics, book covers, cards, posters, and anything that requires a childlike feel. It's great for those who want to bring a sense of fun and playfulness to their designs. Sweet Kulfi comes with a range of features including uppercase and lowercase letters, OpenType alternates and ligatures, numbers, punctuation and symbols. This font also supports multiple languages, making it easy to use for international projects. Inside the zip package, you'll find the Sweet Kulfi font available in OTF, TTF, and WOFF formats. With these formats, you can easily use Sweet Kulfi in a variety of design applications such as Adobe Photoshop, Illustrator, InDesign, or any other software that supports these formats. If you're looking for a font that is both playful and stylish, then Sweet Kulfi is the perfect choice. With its unique hand-lettered style, this font is perfect for a variety of design projects that require a fun and creative touch. In summary, Sweet Kulfi is a quirky display font with both uppercase and lowercase versions, OpenType alternates and ligatures, numbers, punctuation and symbols, and multilingual support. This font is perfect for a range of design projects that require a playful touch, such as logos, titles, cover designs, apparel, comics, book covers, cards, posters, and more.

Ladies and gentlemen, it is with great pleasure that I introduce to you Camulogen, a typeface that embodies the opulent glamour of the Moulin Rouge era. Inspired by the late-nineteenth-century poster designs, Camulogen is the epitome of boldness and sophistication. Its full-bodied, rough letterforms are crafted to capture the attention of all who lay their eyes upon it. This typeface is the quintessence of style, and with it, you can effortlessly convey your message with an unmistakable tone of class and elegance. Whether you’re looking to create a stunning headline for a fashion magazine or an eye-catching logo for your luxury brand, Camulogen will elevate your designs to new heights. So indulge in the sumptuousness of Camulogen and let your creativity soar to new heights. Your message will be delivered with panache and flair, leaving a lasting impression on all who see it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Vogue Sans is a luxurious high contrast sans serif well suited for fashion and haute couture design or glamorous headlines. Try typing any word or name with Vogue Sans and it'll look great. Vogue Sans is equipped with several interlocking ligatures - CC, CO, LA, LC, LL, LE, OO & TT. Vogue Sans also has Swash & Titling Alternates for letters A K L T X Q R and Stylistic Alternates for letters K and R. Go chic!

All handmade – the versatile Sofa Serif Family. Sofa Serif’s handcrafted character is friendly and eye-catching. Stylish features and alternates add personality and let you create unique logos and stunning headlines. The family boasts 5 weights from Monoline to Fat, each containing more than 1000 glyphs, plenty of OpenType features and full ISO latin 1 & 2 language support. In addition, extra shadow-, 3D-, inline- and hatched-styles round out the package. 7 font-styles are especially created to be used as layers/layered styles. Sofa Serif has a sister: view Sofa Sans here. · High contrast is one of Sofa Serif’s key features. To maintain a wide range of use, choose from two optical sizes: Standard and Display with a maximum of contrast especially in the heavier weights. This makes it a flexible solution for any display and editorial need. · Sofa Serif includes a variety of OpenType alternates which add uniqueness to your work. OpenType features include Swashes- and Titling-Alternates, Beginnings and Endings and a number of alternates within various Stylistic-Sets for even more variation. OpenType Swashes- and Titling-Alternates are smart features which automatically adjust all swashy letters to the available white space. Switch one on and let Sofa Serif do the rest. · Please download the Sofa Serif Font Guide for all details. · Sofa Serif is an organic, rough and decorative hand-drawn/handmade all-caps display-family for packaging, posters, book-covers, wedding-, kids-, food- and logo-design and will best stand out in huge grades. Its handmade origin is subtle yet visible. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Sofa Serif / 203 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Nothern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Relax. Deep breath. And step away to font nirvana with Cabrito Semi. Like its Cabrito relatives, Semi’s handwriting-inspired feel is mellow and care-free. But don’t misunderstand us. Even with its fun-loving peculiarities, this free spirit will command whatever party you invite it to. It’s a perfect blend of unique and functional. So what’s the secret of this little one’s strength? It’s pure balance. Cabrito Semi’s energy surges from deep within the relaxed, balanced tones of its humanist structure and calligraphic crafting. The 36 fonts of this well-crafted semi serif originate from the popular Cabrito, an insigne design slab serif developed for the kid’s book, The Clothes Letters Wear. Along with its other amigos, Inverto and Sans, Cabrito Semi rounds out this easy-going household of fonts. The four fonts play well together on anything from meals and candy to toys and cars. With the support of the other three, Semi makes a great choice for titles and moderately long text like you would use for websites, flyers, and packaging. Semi’s complete pack of alternates is accessible in any OpenType-enabled system. This kiddo has loads of alternates, swashes, and alternate titling caps to add a bit of sweetener to the balance. Also bundled are swash alternates, old style figures, and compact caps. Preview any and all of these features in the interactive PDF brochure. This font members of the family also consists of your glyphs for 72 languages. So who says you can’t love quirky? Take a look at Cabrito Semi--and any of the other members of the Cabrito family. You’re bound to find yourself loving fun all over again.

Regards! Get to know Refdisav, a classic serif font that’s ready to add a magical touch to your design projects! With an elegant classic modernism theme, this font is the perfect choice to give any creation a timeless, classic feel. Rephdisav comes with an alluring elegance and a captivating serif style. Each letter is designed with great attention to detail and perfect proportions, creating an impressive and professional impression. In every project, Rephdisav is able to exude a classic modernist charm that is so charming. Not only that but Rephdisav is also equipped with great features such as ligatures and alternative characters that give flexibility in experimenting with interesting and unique letter combinations. You can easily create designs that are creative and different from the others. Apart from that, Rephdisav also supports multilingualism, allowing you to easily reach an international audience and broaden the scope of your designs. Whatever language you use, Rephdisav will be a loyal partner who is ready to give beauty and perfection to every design. With Refdisav, you can create works that depict the luxury and timelessness of classic modernism. Show an elegant, professional, and classic style in every touch of your design. Don’t miss the chance to own this eye-catching classic serif font. Rephdisav will be a bridge to satisfaction and beauty in your design projects. 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

Get to know Bifaser, the classic Victorian font that will bring the era’s mesmerizing beauty to your design projects! With an elegant and classy classic Victorian theme, this font is the perfect choice to bring a strong and alluring black letter feel to each creation. Biphaser perfectly describes the elegance and splendor of the classic Victorian typography style. Each letter has exquisite detailing and well-proportioned composition, creating a sophisticated and classy impression. In every project, Bifaser is able to exude the enchanting power and charm of black letters. Not only that but Bifaser is also equipped with great features such as ligatures and alternative characters that provide flexibility in creating unique and interesting letter combinations. With ease, you can explore creative and attractive design variations. Bifaser also supports multilingualism, allowing you to easily and broadly reach an international audience. Whatever language you use, Bifaser will be a loyal partner who is ready to give beauty and excellence to each of your designs. With Bifaser, you can create works that reflect the power and luxury of black letters. Show a strong, classy, and stunning style in every touch of your design. Don’t miss the chance to own this eye-catching classic Victorian font. Biphaser will be the right choice to give beauty and charm to your design project. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Introducing Retrio. Original glyphs with echoed behind. As if the letters were moved, but the kinetic trail remained. Colored, gradient, with transparency or solid - many options in one family for any task and for every taste. The font will emphasize the style of the 20th century in illustration. Discos, electro music, records, nostalgia - these are the associations that this font family evokes, which is very important in design. At the same time, the Retrio font is not outdated, it was created taking into account modern trends in retro themes. A unique family in which there are both color and classic monochrome versions. Great versatility in use is provided by the many fonts in the set. Great for ad designs, posters, headlines and covers. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Retrio Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size. - With transparency and without. - Mega high-quality gradients in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses — perhaps because political news were front a centre, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger’s type was renamed Hidalgo (Spanish for a lower nobleman, ‘son of something’) and published in 1940 as ‘a very happy variation on an old motif’. Although it wasn’t a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. Upon closer inspection, Schlesinger’s work on Hidalgo was much more Euro-sophisticated and ahead of its time than the too-wooden cut of Figaro and the thick tightness of Playbill. It has a modern high contrast, a squarer skeleton, contour cuts that work similarly outside and inside, and airy and minimal solutions to the more complicated shapes like G, K, M, N, Q and W. It is also much more aware of, and more accommodating to, the picket-fence effect the thick top slabs create in setting. Basilio (named after the signing teacher in Mozart’s Figaro) is the digital revival and major expansion of Hidalgo. With nearly 600 glyphs, it boasts Pan-European language support (most Latin languages, as well as Cyrillic and Greek), and a few OpenType tricks that gel it all together to make a very useful design tool. Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten’s chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. Digital revivals and expansions of two of his other designs, Minuet and Serena, have also been published by Canada Type.

Introducing Dienstag Variable, the latest addition to insigne's popular Montag family of fonts! With its extended sans-serif style, Dienstag boasts a sleek and sophisticated look that's perfect for a wide range of projects. Whether you're designing a website, creating branding materials, or producing print publications, Dienstag's refined elegance is sure to make a lasting impression. Compared to Montag, Dienstag has a slightly more formal feel, thanks to its lack of rounded terminators. But that doesn't mean it's any less versatile – in fact, Dienstag's four original weights have now been expanded to ten, giving you even more flexibility in your designs. With OpenType features that include simplified versions of many characters, you can easily create unique and eye-catching titles that stand out from the crowd. But Dienstag is just one part of the larger Montag superfamily, which also includes Mittwoch, and Donnerstag. Each font in this collection offers its own unique style and flair, giving you a wealth of options to choose from when it comes to your next project. Whether you're looking for a bold and dynamic font or a more refined and understated style, you're sure to find the perfect fit in the Montag family. So why wait? Check out Dienstag and the rest of the Montag superfamily today, and start creating designs that are sure to captivate and inspire! With its elegant style and versatile functionality, Dienstag is the perfect choice for designers who demand the best.

ขอแนะนำ Pariphoom แบบอักษรอันโฉบเฉี่ยวและทันสมัย เหมาะสำหรับงานออกแบบหลากหลายประเภท ด้วยอักษรแบบ sans-serif condensed และมุมโค้งมน แบบอักษรนี้ให้ความสมดุลที่ระหว่างความเป็นทางการและความเข้าถึงได้ง่าย ชื่อปริภูมิมาจากภาษาไทย แปลว่า “Space” และเช่นเดียวกับชื่อของมัน ฟอนต์นี้สามารถให้พื้นที่มากขึ้นในงานออกแบบของคุณ ไม่ว่าคุณกำลังสร้างสื่อสำหรับสร้างแบรนด์ พัฒนาแคมเปญการตลาด หรือออกแบบเว็บไซต์ Pariphoom มอบความยืดหยุ่นและความอเนกประสงค์เพื่อให้ได้รูปลักษณ์ที่คุณต้องการ Pariphoom มาพร้อมกับรูปแบบที่แตกต่างกันถึง 18 รูปแบบ สิ่งนี้ทำให้คุณมีตัวเลือกมากมายและมีความยืดหยุ่นในการใช้งานในหลากหลายบริบท นอกจากนี้ ฟอนต์นี้รองรับหลายภาษาสำหรับภาษาต่างๆ มากมาย แต่นั่นไม่ใช่ทั้งหมด Pariphoom มาพร้อมกับฟีเจอร์ Opentype เจ๋ง ๆ เช่น Small Caps และ Tabular ซึ่ง Small Caps เป็นวิธีที่ยอดเยี่ยมในการเพิ่มความหลากหลายให้กับงานออกแบบของคุณโดยใช้ตัวพิมพ์ใหญ่แทนตัวพิมพ์เล็ก ในขณะเดียวกัน Tabular ก็สมบูรณ์แบบสำหรับการสร้างตารางและจัดตำแหน่งตัวเลขเพื่อให้ดูเป็นระเบียบมากขึ้น โดยรวมแล้ว Pariphoom ทำให้เป็นตัวเลือกที่ยอดเยี่ยมสำหรับนักออกแบบที่ต้องการสร้างผลงานการออกแบบที่น่าจดจำและมีประสิทธิภาพ Introducing Pariphoom, a sleek and modern typeface that is perfect for a wide range of design projects. With its condensed sans-serif design and rounded corners, this font offers a unique balance of professionalism and approachability. Derived from the Thai language, the name Pariphoom means "Space" and just like its name suggests, this font can give you more space in your design. Whether you're creating branding materials, developing marketing campaigns, or designing websites, Pariphoom offers the flexibility and versatility you need to achieve your desired look. Pariphoom comes with 18 different styles. This gives you plenty of options to choose from and the flexibility to use it in various design contexts. Additionally, this font offers multi-language support for a wide range of languages. But that's not all – Pariphoom comes with some cool Opentype features such as Small Caps and Tabular. Small Caps are a great way to add variety to your design by using small capital letters instead of lowercase letters. Meanwhile, Tabular is perfect for creating tables and aligning numbers for a more organized look. Overall, Pariphoom making it a great choice for designers who want to create memorable and effective design projects.

The history of Able’s connection with the Harry Potter phenomenon is really up in the air. It’s a catch-22 in this business - you either promote your own work and negotiate expensive exclusive licenses, or you work with a promoter and sell your designs to anyone and everyone. It could have been an in-house designer at Rowling’s publisher, Scholastic, or a freelancer who proposed Able for the headings and such. The responsible party licensed it from T26, and JK Rowling’s storytelling made it a star. (I suppose it’s ironic that there’s a whole lot of unwritten history in the typography business.) Able’s rise to fame really is a classic love story between reading and type design. If the books weren’t so popular, Able might still be waiting for some Mexican fast food chain to pick it up for packaging design. The movie deal certainly made the font all the more recognizable, what with its merchandising campaign. Popularity can also cripple a great decorative face. It’s always being recognized as “The Harry Potter Font.” It might just have to wait a few decades for the Potter phenomenon to subside to be freed from the “Chamber of Pigeonholed Fonts.” In the meantime, I’m sure that a lot of fledgling graphic design apprentices are reading their new Potter books, being charmed by the idea of type design when they’re not turning the pages too fast to notice.

After Generis™, Aeonis™ is the second large family of typefaces by Erik Faulhaber. The basic Aeonis sans-serif form references Ancient Greek lapidary inscriptions from the 9th century BC. Between the poles of antiquity and modernity, a deliberate contradiction of round and rectangular forms gave way to a new and energised font: Aeonis. Aeonis is available in three widths and seven weights, all of which have been carefully coordinated in terms of their proportions. The clear contrast in the bold stroke intensity emphasises the organic nature of the font and creates exciting aesthetics. In light of their open forms, the letters guarantee a good level of readability, even in small point sizes. Given that the dynamic individual forms of Aeonis also fit perfectly in a functional image, this typeface is ideal both for complex, text-heavy documents as well as for logos and display text settings. Particular attention was paid to ensuring carefully coordination proportions: all styles and weights have the same cap height, as well as identical ascender heights, x-heights, and descender lengths. The widths of all figures, currency symbols, mathematical operators, and special characters have been carefully aligned for tablular settings. Aeonis is an extremely systematic design. All of its widths and weights may be combined with one another, without restrictions. For users who do not like the open A, an alternate A with a crossbar is included in each font as well.

Mi negra is a funny and hilarious typography designed especially for children, thought and created by Isabel de Gregorio. It could be described as an original combination between a semi-handwright and semi sans-serif font. Thanks to its structure and nice endings "Mi Negra" is recommended for composing short texts (logotypes, packing, posters, etc.). It may similarly be used for illustrations and comics, as well as in printing press works for children from 6 to 13 years old for instance. Mi Negra has been conceived to be a useful support in all kinds of illustrations works (please note that Isabel, the type designer, considers herself primarily an illustrator). The font designer of Mi Negra tells that every time she needed to provide some text data (i.e. in children infographies) and needed to make them more understandable and suitable for children, she used this typography. The former idea was than to create a font who could be a second option to comic sans, but as the project started to reveal its forms, it was clear that it was revealing another connotation and its own character. In this way, Mi Negra went on modifying its forms and the more it developed, the more it was showing its new characteristics and concepts. The family is composed of three weighs: Light, regular and black. It provides also interesting functional ligatures. It also includes a dingbat with nice doggies. It has 434 characters and can work with 208 languages.

Seuchter Experimental is a product of the fertile Jugendstil period in Austria. Drawn by Bruno Seuchter, about whom little biographical information is available, the design first appeared in Seuchter’s publication, Die Fläche, in 1902. Die Fläche means “surface or expanse,” presumably a reference to a “tabula rasa” or clean slate. The implication is one of starting anew, rejecting the past and searching for fresh, different modes of visual expression — which is exactly what Art Nouveau attempted to do. Seuchter Experimental is a quirky and light-hearted font. Ligatures include AT, AV, CH, CK, FJ, LO and ST. Although basically an all-cap font, several of the accented letters in the lower case position represent the oft-seen desire to keep the accents below cap-height. The a-umlaut at 228 and u-umlaut at 252 reflect Seuchter’s original design. For a discussion of the difference between a diaresis and an umlaut, see Appendix B of Bringhurst’s The Elements of Typographical Style. In the meantime, give this font room to breathe.

Introducing Quasix—the typeface that defies logic! With its compact industrial headline design, this font is the perfect choice for anyone looking to add an edge to their design work. But beware, its quirky design might have you scratching your head at first. Just like the inside of a machine, Quasix is full of moving parts, each with its own unique purpose—but don’t worry, you don’t have to be an engineer to appreciate its beauty. This typeface is perfect for those who want to convey the concept of engineering devices without using typical techno typefaces or cliche physical symbols like gears and bolts. Quasix will elevate your design to the next level, and its versatility makes it suitable for a range of themes, from retro to modern and even futuristic. Don’t be afraid to get creative with Quasix—this typeface was made to be bold and unconventional. Let it take center stage and watch as it transforms your design into something truly unique. Quasix defies convention and breaks the mold, making it the perfect choice for those who aren’t afraid to think outside the box. Try it out and see for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

First Ladies is a unique collection of signatures of almost all of the First Ladies of the United States plus the First Lady of the Confederacy in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous women. This font includes 45 signatures for the following First Ladies: Martha Dandridge Custis Washington, Abigail Smith Adams, Martha Wayles Skelton Jefferson, Dolley Payne Todd Madison, Elizabeth Kortright Monroe, Louisa Catherine Johnson Adams, Rachel Donelson Jackson, Anna Tuthill Symmes Harrison, Julia Gardiner Tyler, Sarah Childress Polk, Margaret Mackall Smith Taylor, Abigail Powers Fillmore, Jane Means Appleton Pierce, Harriet Lane, Mary Todd Lincoln, Eliza McCardle Johnson, Julia Dent Grant, Lucy Ware Webb Hayes, Lucretia Rudolph Garfield, Ellen Lewis Herndon Arthur, Frances Folsom Cleveland, Caroline Lavinia Scott Harrison, Frances Folsom Cleveland, Ida Saxton McKinley, Edith Kermit Cardow Roosevelt, Helen Herron Taft, Ellen Axson Wilson, Edith Bolling Galt Wilson, Florence Kling Harding, Grace Anna Goodhue Coolidge, Lou Henry Hoover, Anna Eleanor Roosevelt, Elizabeth Virginia Wallace Truman, Mamie Geneva Doud Eisenhower, Jacqueline Lee Bouvier Kennedy, Claudia Taylor (Lady Bird) Johnson, Patricia Ryan Nixon, Elizabeth Bloomer Ford, Rosalynn Smith Carter, Nancy Davis Reagan, Barbara Pierce Bush, Hillary Rodham Clinton, Laura Welch Bush, Michelle Obama, and Varina Howell Davis (First Lady of the Confederacy). This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

The Augsburger Family is a product of the Art Nouveau period in Germany and Austria, reflecting the darker, heavier Jugendstil approach typical of the Secession movement in these two countries. Originally released by H. Berthold AG of Berlin and Bauer & Co. of Stuttgart in 1902, Augsburger has been attributed to the designer Peter Schnorr. This current version represents a year-long revision of the Augsburger Family. All three fonts have been updated to eliminate duel encoding, harmonize metrics, and review all glyphs. In addition, the following features have been included in the individual fonts: Augsburger Schrift: a total of 249 glyphs have been added, for a total of 467 and an increase of 114%. New are Tabular Numbers, Small Caps, a variety of Ligatures and the refinement of all accents. Augsburger Initials: complete redesign of upper case, inclusion of upper case from Schrift instead of lower case, plus inclusion of small caps and a selection of appropriate ligature. Augsburger Ornamente: includes some additional glyphs. Augsburger may be purchased as a complete family or as individual fonts. Each font package includes both TTF and OTF versions to allow you to select what is most useful to you.

A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street’s own Grotesque Shaded of 1834 (with light and shadow reversed). The idea of a shaded font is of an outline font whose letters have each been extruded through a die and then viewed from the lower right to reveal the third dimension. That third dimension has also been referred to as a shadow. Vincent Figgins' 1815-release of a shaded serif typeface was the first known of many shaded faces, as the other foundries rushed to bring out their own versions. Thorowgood Sans Shaded may be gainfully used today as a eye-catching headline font, just as it was so popularly used in the early nineteenth century. To assist with the usual all-cap letter-spacing problem, the following pre-kerned pairs are included: AT, AV, AW and AY. Be sure to download the Type Specimen showing the full character set, as well as a sample text. Live large - use it boldly.

Moreva is a new casual modern script font. This font describes about girly, feminist, elegant, catchy, dynamic, humanist, easy to use and will bring a good harmony when the letters are connected and paired each other. FEATURES - Support Opentype Features - Support Ligatures - Automatic stylistic alternates am an ar at att bb bl cl ct dd fl el elt em en er et ett ff gg gt hh il im in ir it itt kk ll lt mm nn nt oo ol olt om on or ot ott pp rr ss se sh sk sl so st tt the um un ur utt yl yt Sl Sk St Sh Gl Gh Kl Kh Ch Cl Bl Bh - Uppercase - Lowercase - Numbering and Punctuations - Multilingual Support - Works on PC or Mac USE Moreva works great in any branding, logos, magazines, apparel, wedding designs, social media posts, advertisements, quotes, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste. Enjoy using! Thanks. HIRO.std

Ceciliany is a classy font family that adds calligraphic touches to the basic structure of the display serif. Italic styles share a language set and OpenType Features compared to static styles, but have a completely different metrics In addition, an elaborate and detailed kerning system is also operated separately. 9 weights and 18 unique styles offer designers the amazing creativity of the serif font family. It offers a variety of options for editorial design as well as typography work for various channels. Features 9weights, 18styles Optimized Kernings Stylistic Set Fractions Oldstyle Figures Discretionary Ligatures : AM, AR, BA, BR, CA, CH, CR, DE, EA, El, FR, GA, GH, HR, IL, IM, JA, KA, KR, Ki, LA, LE, LO, MA, Ma, Me, NA, NE, NT, Nu, PS, RA, RE, RO, Ro, SA, ST, TH, UB, Ze, Zo, ft, li. Standard Ligatures : ff, fi, fl. * In particular, ligatures displayed in preview images can be easily applied to Adobe apps. Check out the ligature features of the software you are using.