Vidage - Elegant Serif Typeface Font is a sophisticated font that combines the qualities of a display font with an elegant serif style. Its modern and bold design, along with alternative characters, make it a versatile choice for various design applications. Whether you're creating logos, branding materials, product packaging, wedding stationery, invitations, titles, or headlines, this font will add a touch of elegance and visual impact to your projects. The elegant serif style of Vidage exudes a sense of refinement and class. Its clean and modern lines give it a contemporary look while maintaining a timeless appeal. The bold nature of this font ensures that your designs will stand out and make a statement. The inclusion of alternative characters allows for creative exploration and customization, giving you the freedom to find the perfect aesthetic for your project. Whether you're designing a luxurious logo, creating stylish packaging, or crafting elegant wedding invitations, Vidage - Elegant Serif Typeface Font offers the versatility and elegance needed to make your designs shine.

Now is a great time to dust off your old motor scooter and take a ride along the Italian Riviera. Let’s head to the flower city of San Remo, Italy - the namesake for this versatile, 1950s style script. Try San Remo on your next brochure or flyer project. You may want to consider using it to create a special logo or icon for your personal stationery. It’s perfect for any job that requires linked or connected letters. And for your convenience, this dashing design sports a variety of alternate characters plus lining and old style figures. San Remo Casual is also available as an OpenType font. It contains lining and oldstyle figures, prebuilt fractions, stylistic alternates, and a wide assortment of f-ligatures, plus more. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades. Ciao!

Hot Pursuit: A Hand-Drawn Grind-house Roller Derby Font A grungy hand-drawn font with attitude inspired by comic books, Roller Derby and bad Grindhouse movies. Hot Pursuit is a boiling pot of pop-culture references ranging from 70s chase movies to Roller Derby, horror comics to Grindhouse cinema. All combining to create a hand-drawn font for grungy designs with maximum punch. Supplied in regular and italic styles, it creates titles that race off the page, perfectly suited for dynamic movie posters and headlines. Along with the 4 font styles you’ll also find a host of original comic art by Christopher King, plus symbols and underlines to compliment your type. Hot Pursuit contains unique uppercase and lowercase characters, numerals, punctuation and language support. It’s a bad-ass font ready for your t-shirts, posters, stickers, movie titles, YouTube videos and more! Check out the visuals to see it in action for yourself.

Opificium is a visual contemporary sans serif typeface composed of three weights plus their matching obliques. The industrial design creates and develops concepts and specifications that optimize the function, value, and appearance of products. Indeed, this is reflected in the concept behind each glyph of our font family which geometry has required particular attention for the purpose to preserve optical exactness, along with proportions continuity. The whole design of this typeface is in fact ruled by versatility and legibility and makes it functional for any text in small and large sizes. "Opificium" typeface includes over 450 characters with coverage for several languages using the Latin alphabet as well as the Greek alphabet. The font family provides advanced typographical support such as a significant number of neat standard and discretionary ligatures and broad support of OpenType features (OTF). Recommended for headlines, logos, and any destination of use such as corporate identity, typography, posters, web design, and social feeds.

Glowing Script is a romantic and sweet calligraphy typeface with characters that dance along the baseline. It has a casual and yet elegant touch. It can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterhead, signage, labels, news, posters, badges etc. The fonts include OpenType features with stylistic alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs

A hand-made retro script font duo inspired by 80s action movies! This hand-made, retro styled script font was born from a childhood watching countless 80s action movies. Stories of inspirational heroism and competition, all set against impossibly beautiful Summer sunsets. And no self-respecting 80s movie would be without the coolest title design, setting the stage with a seemingly spontaneous glide of the designer’s brush. Endless Sunrise aims to capture this spirit through it’s loose, hand-drawn design and complimentary sans-serif. It comes with a complete set of alternatives and underlines for true customisation, meaning you’ll never have to repeat an E or an I; the tale-tell signs that give away other script fonts. It also features uppercase and lowercase characters, along with numerals, punctuation and language support. An awesome font that will work equally well across film, sports, music, merch and more! Find more from The Video Store Collection at Wingsart Studio

Natalic Script is a modern and sweet calligraphy typeface with characters that dance along the baseline. It has a casual and yet elegant touch. It can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterhead, signage, lables, news, posters, badges etc. The fonts include OpenType features with stylistic alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs

The PM Doorbuster Collection is based on retro hand-painted paper signs primarily seen in grocery stores from the 1940s through today. We meticulously hand-drew each font, modeling the spacing and uneven baseline found in vintage sign painting. The purposely organic ascenders and descenders, along with a huge set of ligatures/contextual alternates to avoid the same letters repeating when paired, give it a real hand-lettered look. PM Doorbuster Casual is perfect for both vintage-inspired and contemporary marketing, branding, and packaging designs. It's a classic uppercase sign painter font that has been used from the 1950s thru today. You've probably seen hand-lettered versions used in tattoo studios, workshops, and chalkboard menus. Now it's available in a digital format with all of the authentic look and feel of actual hand-painted letters. Check out a few of the samples included in the thumbnails to see what can be done with it.

Rainbow is a soft and sweet script typeface, with the characters dancing along its baseline. It has a casual and elegant touch. Can be used for various purposes such as logos, wedding invitations, headers, t-shirts, letterheads, signboards, labels, news, posters, badges etc. OpenType features with alternate styles, ligatures and multi-language support. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 There are additional ways to swap / swap, using Character Map (Windows), Nexus Fonts (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Need help? If you need help or advice, please contact me via email. Thank you!

This font collection includes a contemporary casual Script typeface and a sophisticated all caps Sans that features high contrast between thick and thin strokes. When used together, these fonts offer high versatility—perfect for magazines, blogs, mockups, use with social networking sites, logos and headlines as well as greeting cards, invitations, book covers, posters, and web and on-screen use. Resort is a font collection consisting of 12 styles and 3 variants: Script, Sans and Ornaments. The font set is intended to provide users with a wide range of choices for any design project. The collection comes with a relaxing Script of 5 weights and a classic 6-weight Sans, and includes lively floral ornaments. Resort evokes the feeling of relaxing barefoot walks along the beach while enjoying the sunset and a refreshing cocktail. Resort was designed by Guisela "Coto" Mendoza and Luciano Vergara. Digital editing by Rodrigo Fuenzalida. Photos courtesy of Sarah Loven—a popular beauty, travel and lifestyle blogger.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Eclectotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults. Now to delve into the stylistic alternates... These are all included in the salt feature, or for uses of applications that support them, separated into stylistic sets thus: ss01 - (with swash feature on) L and G swashes get even swashier. ss02 - standard s changes to a connected script s form. ss03 - r takes on a script form. ss04 - z also gets a scriptier look. [the previous three sets also change any versions of s, r or z with diacritics] ss05 - a useful underline function. When enabled, typing two or more underscores will extend a cool underline under the previous letters. More underscores = longer underline. ss06 - the Polish script lslash changes to its more standard form. ss07 - E, S and B change to a more top-heavy alternate form. ss08 - An alternate form for A characters. ss09 - Alterative rounder forms of M and N. ss10 - An alternate ampersand. That about wraps up the features. Now all that’s left is for you to license the font and get experimenting!

Nagietha is a type of handwritten font with a dynamic & natural flow. This font is designed with original handwriting and gives it a personal touch. Carefully digitized by keeping the rough line still looks natural, romantic and personal. You can combine this font with many font styles such as serif, san-serif, oblique, italic, slab and etc. This font is specially made for personal branding but also works well for many applications. Perfect for logotype, labels, cosmetics, packaging, watermarks, quotes, apparel design, signature template, wedding invitation, food menu, doodle or any advertising needs. Nagietha is PUA Encoded, that allows you to access all of the alternates characters without any special software. You can simply access them by using Font Book (Mac) and Character Map (Win). TTF & OTF Format in a zip file featured : Uppercase Lowercase Numbers & symbols Accents Stylistic alternates Ligatures Swashes. Thank you for watching and stay safe everyone!

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

Beriot is a sans serif whose basics are condensed in Regular (Normal) weight, getting a lot of form inspiration from the topic also known as Steile Futura which is a letterform that Paul Renner himself explored in the mid-1950s, where shapes are constructed with little stress on modular squares but there are changes in certain parts so they become less modular. The Beriot family is available in 42 weights with matching slanted cuts, divided into 3 subfamilies: Condensed, Normal and Expanded. Each has been designed for a range of text sizes each, and already variable, allowing you to choose and make your own type of weight you like. OpenType Features are available in each of these font styles, including alternative characters, different numbers set and case-sensitive and there are additional symbols that make it the perfect choice for professional types of branding, digital design and editorial.

In response to many requests for Morpheus, an idea came to us. Why not make a font that looked a bit like Morpheus, but which had more attractive, more consistent character forms, was rendered cleanly and properly spaced and kerned? We took a look at Morpheus and decided to redo the concept from the ground up, replacing some of the amateurish characters, adding a bit of a Celtic look and feel, developing a set of alternate characters and making sure that the design elements were consistent from letter to letter. The result is Orpheus, a font which has the general look and feel of Morpheus, but is a much more complete and fully realized design. In addition, Orpheus is a fully developed font set, with not only regular and bold versions, but with a special customized italic style and a really neat looking heavy weight rough-outlined variant.

While DIN Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit. It has been used successfully in magazines, corporate applications and packaging in fields such as music, fashion, technology, visual arts. The ‘Pro’ series has been enhanced with more weights, multilingual support and opentype features in all different styles. Specifically, this superfamily supports simultaneously Latin, Greek and Cyrillic, while each one of its 15 weights contains 1197 glyphs and 20 opentype features. Additionally, every font in this superfamily has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations. This is a set of very useful daily symbols for packaging, branding and advertising. Symbols for public areas, environment, transportation, computers, fabric care and urban life.

This family was created inspired from two French (one so common and a very rare large one) "toy print" boxes, named Le petit imprimeur, with rubber stamp characters from the 1920's. The big difference from our 1920 My Toy print is that this font is complete, with upper and lower cases, accented, complete punctuation and some symbols. The doubly of each usual character in each style (A-Z/a-z and numerals) allow to give a rich and variously uneven appearance, looking like the results of the real use of those old rubber stamps, with bad kernings and alignement. The font is containing West (including Celtic), Central, East European, Turkish and Cyrillic characters. The bold style may be used as a reinforcement, mixed with normal style without disadvantage, allowing finally four choices for each usual letter... The original size is 6mm (about 17 pts).

LTC Athena brings a somewhat “lost” hot-metal typeface back from obscurity into digital Opentype format. In fall 2012, printing historian Rich Hopkins contacted P22 type foundry regarding some inked type drawings he had just uncovered from his acquisition of the Baltimore-based “Baltotype” company some 20 years ago. It is a rare face whose original matrices were destroyed and thought fully lost. The drawings included a full upper and lower case set, numerals, basic punctuation, and alternate forms of some letters. The design is a narrow deco-flavored design from the 1950s with a curious avoidance of straight lines in the stems and main strokes. The face has been expanded to over 340 characters by Miranda Roth and includes ligatures as well as a full Pan-European character set. It is released through the Lanston division of P22 in consideration of its earlier incarnation as a metal typeface.

Feisty (2020) is a straight script bold using magic OpenType automatically at mimic real hand lettering. Use it for magazine, fashion, invitations, greeting cards, bussines card, logo, t-shirt, web banner, book cover, campaign and watermark photography. Feature Presents an advanced OpenType to automatically choose the appropriate letter shape as you type based on whether the letter appears at the beginning, middle or end of a word. The width of the bar in the lowercase "t" can be changed as desired. Has two different styles of caps: Normal caps, which are the same style as the lowercase; and a type of Comic font, plain caps for setting acronyms, roman numerals or any other case that calls for all caps. With extended language support for most Latin-based Western and Central European languages. Automatic all fractions. *Requires an application with support for OpenType advanced typography, such as Adobe Creative Suite and QuarkXPress.

Core Sans A Family from S-Core is a modern sans-serif typeface that is clean, simple and highly readable. It is a part of the Core Sans Series (Core Sans N SC, Core Sans N, Core Sans NR, Core Sans M and Core Sans G). Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans A family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans A contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Danish type designer Ole Søndergaard created this sans FontFont between 2000 and 2004. The family has 30 weights, ranging from Extra Light to Ultra in Condensed, Normal and Extended (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as wayfinding and signage. FF Signa provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system. This FontFont is a member of the FF Signa super family, which also includes FF Signa Correspondence, FF Signa Serif, FF Signa Serif Stencil, and FF Signa Stencil. In 2002, FF Signa received the Danish Design award.

Loaded with various auto-ligatures (primarily for ALL-CAPS typesettings), Troubled has all of the rebellious custom lettered attitude of a vintage pulp paperback. Troubled PB began as a digitization of a film typeface known as Toronado by LetterGraphics, perfect for typesetting early children books, candy packaging, toy packaging, birthday invitations, or any other playful design need. It's lowercase typesetting is straightforward and casual, with a light animated feel, while the all-caps typesetting goes wild with auto-ligatures galore to create wonderful and interesting interwoven letterform combinations. This typestyle has such an offbeat appeal to it that it just draws your attention. Great for headlines (especially in all caps settings), but also great for small bodies of text in mixed case setting. So whether child-friendly design pursuits, or reminiscing of vintage pulp paperbacks novels, Troubled PB has a little something for everyone.

Cute, curly, & very "little missy", Girltalk was specially designed for the pre-teen & young-teen market. Its design was inspired by the kind of curly handwriting that junior school girls use for notes to each other, diary entries, autograph books etc. Pretty & feminine, with a large dose of cheek, Girltalk is a must for all marketing media aimed at the 7-14 age group: -- “girl style” stationery -- diary covers -- clothing hang-tags -- party invitations -- greeting cards -- book covers -- movie posters -- CD covers -- toy and game advertising media Girltalk can also be used for "big girls"! Great for hen parties, baby showers, pamper parties and other occasions that bring out the "girl in" women. Think pink, think hearts & flowers, think ribbons & bows, add Girltalk to the mix, and you have a winner! Girltalk has been carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

The name "Smart Casual" says it all. This is the font to use when you want to create that smart impression without being too formal. It is based on the font "Black Tie" but it is less formal than "Black Tie". It conveys an impression of relaxed elegance without being either sloppy or too intimate. Smart Casual is ideal for invitations to stylish but relaxed events, for advertisements that are intended to create that special ambience, for posters and for announcements. Smart Casual has a full character set and has been carefully letter-spaced and kerned. It comes in two styles: Baseline and Staggered. In "Baseline" all characters refer to the same baseline (the lower part of the characters are in line), while in "Staggered" the capitals are placed lower than the lower case characters, creating a slightly more dramatic, yet formal and retro look.

Inspired by pointed pen calligraphy and modulated sans serif typefaces used for advertising in the 1920´s, Bologna is a high contrasted sans serif with a modern and fashionable look. Bologna comes in three weights: Regular, Bold and Black. The Regular and Bold weights are, despite of their high contrast, also build for body texts. Whereas Bologna Black, with a more expressive look and sharp angles, is specially designed for large and striking headlines, packaging or identities. Overview: 3 weights - Regular, Bold, Black Regular/Bold: 657 Glyphs Black: 871 Glyphs Lining, tabular and old style figures Ligatures: fl, fi, ff, ffi ffl, Unicase Letters: a, e, m, n, r Alternative Guillemets Case Sensitive Arrows Bologna Black: hairline accents and interpunctations Fractions Extended Language Support Stylistic Sets: ss01 = Alternative Guillemets / Alternative y ss02 = Unicase glyphs ss03 = Numerals in circle ss04 = Numerals in black circle ss05 = Hairline Accents and Interpunctations (Bologna Black)

Fulgora is a sort of ‘calligraphic typography’ or ‘typographic calligraphy’, depending on the point of view. Inspired by late-medieval Bâtarde and Civilité blackletter styles, the Kannada and Sinhala writing systems from Southern India, Celtic uncials, and diverse vernacular Mexican scripts, Fulgora was created straight from pen on paper as a personal calligraphic style where fantasy in the chief ingredient. The idea to take it to the digital realm came later, as an extension of the creative process. To this end, originals for each character were made, directly traced with the nib with no retouching, then vectorized to be digitally assembled. Work has been done on spacing and kerning with the aim to digitally reproduce an utterly calligraphic outcome keeping the natural, imperfect, manual finish of all signs. Fulgora has two variants: Blanca (white) and Negra (black), executed with different nib widths but the same style and proportions.

Heimat Display is the high contrast sans serif typeface family within the Heimat Collection, also containing Heimat Didone, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Display is a typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Display’s character set provides different alphabets, the regular one plus alternate designs that comes across as less suspenseful. Heimat Display [873 glyphs] comes in 72 styles and contains extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

The Vtg Stencil fonts from astype are based on real world stencils from several countries. The US No. 4 design was derived from a typical antique US-American stencil-plate. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. It was a mass factored product and a very common tool in the United States until the success of the interlocking stencils. In case of US No. 4 an original early stencil plate from New York Stencil Works was used. The Regular font style is a clean font design featuring an extended Latin glyph set including some typical stencil ornaments and tabular figures. The Paint font style is made from true stenciled letters and features all the letters of the stencil-plate only. If you like the later interlocking design have a look to my Vtg Stencil US No.2 font. More info: pdf specimen

Black Drum is a rare revival typewriter face, made digital from analog samples gathered with great care by Coniglio Type. A time and place; type and life. Black Drum is contemporary designer type, made from the struck steel hammers of an Art Deco Period san serif face transferred from a mechanical 1926 custom editor Royal Portable typewriter. Anna Conroy of Type Heritage, LLC, Philadelphia comments on Black Drum and its new place in time today: “Wow! nice lookin’ face Joseph! —Perfect, somewhere between Cable; [Rudolph Koch, 1927] (which was about the first transatlantic telegraph cable) with its raised x-height; and Futura [Paul Renner, 1928]. Yup, it has that great “Monopoly Game” question mark -- and all on a period-piece typewriter! You should have no trouble grafting that sorely needed Euro symbol.” –And he very well did! Author: Joseph Coniglio Producer: Coniglio Type MyFonts debut: October 2021

Novel Mono Pro is the monospaced typeface family within the largely extended award winning Novel Collection, also containing Novel Pro, Novel Sans Pro, Novel Sans Condensed Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Mono Pro has a carefully attuned character design and a well balanced weight contrast. It combines the feeling of a modern humanist with the technical appearance of a typewriter. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Mono Pro [948 glyphs] comes in 12 styles and contains small caps for the uprights and the italics, ligatures, lining figures, hanging figures, small caps figures, positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

In the pre-computer, pre self-adhesive label era of office supplies a number of companies (including Dennison, Maco and Denny-Reyburn) manufactured a wide variety of gummed labels for just about any use or purpose. Blank labels, specialty labels and decorative holiday seals were just a part of this line. One popular style was that of labels with parallel thick-and-thin borders of red lines and corners chamfered, rounded or straight cut. Occasionally, one could find similar labels with blue, green or gold borders but red was the mainstay, hence naming this typeface Red Border Labels JNL. Presented in this font is a collection of twenty-six standard and specialty shape label borders on the capital (A-Z keys) and twenty-six solid panel versions on the lower case (a-z) keys which can be used as backfills for the borders or as stand-alone labels.

Stadia is designed around a series of modular units: quartercircles, teardrop shapes, squares, circles and variations thereon. The versatility of these basic shapes is such that a teardrop, for example, can represent a looped bowl, as in the lower part of the a, while also representing a curved arc at the top of the same character. The strict grid is broken for the T and the Y, and the placement of accents. The alternative – basing a T, for example, across three units – though rational, is far less aesthetically pleasing. As always with type design, one has to know when the internal structural rules should be bent for a more beautiful result. The horizontal lines appear to travel through the letters, bursting into stars in the counters of lower-case characters such as the o and p. The outline version is weighted to the same width as the gaps between the units.

Eskorte is a diligently designed Latin type family with an uncomplicated, engaging poise that conveys a crisp, businesslike tone. Its precise range of styles looks to no-nonsense efficiency and ease of use by non-designers in the office and text-intensive professional environments. Eskorte supports over ninety languages in a full range of weights, with both upright and matching italics. The italics are lively, fluid forms that infuse their charms into text settings or take on their own personality in large, dominant headlines. In concert with the hardworking upright styles, the two fit smartly into a range of publications, from corporate to casual. All of the weights and styles offer an adept set of features like small caps, case-sensitive punctuation, and both tabular and proportional figures to make short work of any typographic task. Whether employed in enterprise reports, lifestyle publications, or identity work, Eskorte is ready for business.

Heimat Didone is the high contrast serif typeface family within the Heimat Collection, also containing Heimat Display, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Didone is a neo-classical typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Didone’s character set provides two alphabets, the regular one plus an alternate design that comes across as less suspenseful. Heimat Didone [872 glyphs] comes in 72 styles and contains 6 optical weights, extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

Features: Chella Lyfe Print: Uppercase letters, numbers, & extended punctuation We Offer Non-English support for the international designer as well Same stroke thickness with each font, so you don't need to make any time-consuming adjustments to get it looking right! This is such a fun new display font, perfect for creating quotes, logos, or just adding a hand-written touch to any project! While other fonts usually take some size adjusting to look just right, The ChellaLyfe variations in stroke thickness for upper and lower case fonts, so you can so it can display creativity and life in every stroke! Each font also has alternates for each letter, so when you type uppercase or lowercase for each font, the letters will change slightly. For example, tying in all caps with the Script font will connect each letter, whereas typing all lowercase will disconnect each letter.

Octagen is a family of 16 condensed Sans Serif fonts of geometric construction and neo-Gothic style with short descenders and a humanistic finish in the curves and auctions of the tiny letters to avoid the coldness of the grotesque typographies, providing expressiveness, energy, warmth and docility , resulting in a friendly typography with a lot of personality and readability, specially drawn for the composition of short and medium texts, signage or headlines where horizontal space saving is needed. The typography has 529 glyphs (Latin Extended-A) with advanced OpenType functions, several number games, a complete set of neutral-style alternative lower case letters and the Bitcoin symbol. For Octagen cursive styles I used a set of lowercase letters without terminal finishes, more neutral than the regular versions, this being compensated by the expressiveness of the italics inclination, thus achieving important morphological, coherent differences within the conceptual development of this typographic family.

Cobbler Sans is a friendly type family in six weights and the humble cousin to Cobbler. With its rounded aspect and proportions of geometric type Cobbler Sans is expressively soft and contemporary. All terminals are shaped organically and even inner corners are rounded. The few remaining straight lines give the typeface the stability of a workhorse while keeping the playfulness that characterizes the entire Cobbler family so much. Additionally there is a pile of OpenType features built in. For example loads of discretionary ligatures that make capital letters interlock left and right. Other features include automatic fractions, case sensitive punctuation and contextual alternates. Cobbler Sans works great for branding, packaging, editorial or any display application – and it comes with an expansive character set that covers over 200 languages. Furthermore Cobbler Sans is manually kerned and auto-hinted for crisp display on screen also in small sizes.

Cute Letters is a hand drawn font family in two styles with extensive character sets. Cute Letters - Hearted is a vibrant happily singing script, all capital as well as some lowercase letters are decorated with heart shapes. Second: Cute Letters - Heartless is still as vivid as it’s sister Hearted but a little less briskly, some straightened forms and without the decorative hearts. Both styles are readable and suitable for longer texts in medium point sizes. Cute Letters Hearted & Heartless is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.