budyloves is a beautiful and flowing handwritten font with love. It looks beautiful on a variety of designs requiring a personalized style, such as wedding invitations, thank you cards, weddings, greeting cards, logos and so on. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! budyloves a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! The alternative characters were divided into several Open Type features such as alternate,Titl, Stylistic Sets. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. You can mix and match with Opentype feature: More than 315 of glyphs Alternates Titl Uppercase Stylistic sets from ss01 to ss04 Multilingual Language If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/ Thanks and happy designing :-) Thank You for purchase!

Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

Magola is a creamy flavor font family whose purpose is to season with emotions the reading of words and phrases formed by puffy glyphs coated with a caramel of empty spaces external and internal. Independently or in groups, members of the family serve to decorate and organize packaging or advertising material in letters apparently crafted for food or entertainment contexts. Its starting point was to draw letters like a ballon fish evolved into a black version with empty areas and microscopic contrasted with colorful inflated and filled areas. Then the challenge was based on the sum transferred between full and empty into a lighter caliber. In that vein, its overall design adapted skeletons of italics and Roman calligraphy. Therefore, its regular, bold and black files have great height "x" with upwards and downwards extremely short and large internal counterblocks to facilitate reading. In this regard, to strengthen its objective and capture the reader's attention, its kind of contrast and simulated auctions flat tip brush strokes, and amount of contrast between thick and thin in the black version is slightly inverted. Its sizes, smooth strokes and irregular lines reinforce its traditional spirit, so it is favorable to shine the information on posters or large-format media. In short, its optical conformation based on a non-literal way, in metrics similar in all family members to be easily exchanged without changing the ìxî height. It is therefore a striking and versatile tool, that besides being useful in large sizes, can be used in small sizes as well. And more importantly, its general concept is more profitable when its members are mixed to nest headings, subheadings and short paragraphs, designed according to size, position, color and location in logos, covers, posters, ads and flyers.

MAS AMOR POR FAVOR (1) (more love, please) Fluire means -to flow- in Italian and that’s what this font is all about. The story began when a friend of mine asked for a tattoo with the word -Fluir- (to flow in Spanish). She didn't want a tattoo full of swashes and swirls, like I'm used to doing, but something more fluent, soft and minimal. My very first attempts were more related to copperplate calligraphy but I wasn't even close: I discovered that I needed to forget a little bit about the classic contrast and speed of the engrosser's nib and started playing with a tiny flat metal nib. Letters started to flow, and I immediately thought of turning them into a font. Inspired by the tattoo I created and by other tattoos I saw, I started the journey of what would be a very fun process. The result is a very cute, almost monoline font with a wide range of uses. USES If not used for a tattoo (my first ‘target’), the font delivers amazing results in combination with Fluire Caps: These two need each other, they go together, they talk. I designed Fluire Caps Down and Fluire Caps Up so it’s easier to manage their colors. Also there’s Fluire Caps Down Lines, which has a decorative thin line to add yet another dimension. Use the fonts in magazines, book covers, posters, greeting cards, weddings, lettered walls, storefronts! TIPS Since the font is Open-Type programmed, I strongly recommend using it in applications that support that feature. Also, the font looks way better when -contextual alternates- are activated, but it’s your choice :) Try Fluire, and keep flowing. NOTES (1) The phrase alludes to maybe the most tattooed phrase in Latin America.

The Dellgado is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Dellgado provides alternative variants of most fonts, binders and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, paragraphs, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. The Dellgado includes various language support. It features OpenType with alternative styles and elegant binders. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. And also a touch of ornament makes this font look elegant. To enable 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. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the 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 the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Regards Mova Pista

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

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

Generale Script is the font of choice for writing things that go beyond words. This font type is designed with high detail to deliver stylish elegance. So, it can be said, the character of the change is very beautiful, a kind of classical decorative copper script. Generale Script presents alternative variants of most letters, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery, and compositions for certain brands, beautiful titling, verses, letters and short texts, which are intended to be read only with the eyes or intended to whisper into someone's ear. Generale Script has 300+ glyphs and alternative characters, including various language support. With the OpenType feature with an alternative style and elegant binder. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining these Glyph variations. 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. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. :) Thank You, Alpha Bento

“Corinthiago” feels equally charming and elegant. This stunning handwritten font is a stylish homage to classic calligraphy. It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates Alternates to help enrich your designs: 1. Titling (titl) alternates, are accents for initial letters. is the first stroke that is long and and slightly curved according to the letters, both lowercase and uppercase. 2. Swash (swsh) alternates, is an accent at the end of a letter, is an additional stroke to end writing. 3. Stylistic alternate (Salt), is an alternative glyph to add style emphasis. 4. Stylistic set (SS), some additional glyphs for design alternatives. If you use a combination of two lowercase with a combination of tilt and swsh it will produce a harmonic letter that you can use for a logo, no problem also for a logo consisting of more than two letters, all you have to make sure is starts with a titl and ends with swsh. All glyph alternates (titl, swsh, Salt and SS) are also supported by multiple languages. Another OpenType that is also very important is Ligature (league), this font consists of 51 Ligatures including: Abe, Ade, Ale, Ab, Ad, Af, Aj, Ak, Al, Am, An, Ao, Ap, As, Ax, Ay, Az, aa, ar, be, cc, da, de, di, do, du, dy, ee, er, ii, ir, is, le, ll, lt, om, on, oo, op, or, ov, ow, ox, oy, oz, ss, st, th, tl, tt, ur and uu. We continue to see the possibility to update ligatures in the future. This font is the right choice for a modern design, can be applied to invitations, writing messages in the form of quotes, book and magazine covers, and of course for your brand logo text.

Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps. Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density. Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features. Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough. The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion. Check out also ‘Modern Love Slanted’ Turquoise Nautica

Domotika was first designed for Zetafonts by Cosimo Lorenzo Pancini in 2018, trying to translate the modernist and humanist ideals into typographic form, looking for a conversation between the classical and the contemporary, the hand-made and the technological. Following the motto of Mies Van Der Roe and Gustave Flaubert ("God is in the details"), Domotika takes inspiration from architectural practice, with a pragmatic attention to functionality that doesn't forget aesthetics. Its design juxtaposes the open humanist letterforms to slight calligraphic curve endings that marries perfect readability to expressive design. The name itself of the typeface is an homage to the science of living comfortably, with its reference to "domotics", robotic technology for use in the home. In 2021 Andrea Tartarelli, who originally designed Domotika italics, completely reworked the original type family adding over five hundred glyphs to the original set and extending the language coverage to include over two hundred languages using latin, Cyrillic and greek alphabets. Open type features have been also expanded, including positional numbers, small caps, ligatures, contextual alternates and stylistic sets, as well as tabular, lining and old-style numerals. • Suggested uses: conceived as a great tool for editorial use, great for display usage too, where readability and personality must match design space needs; • 18 styles: 8 weights + 8 italics + 2 variable fonts; • 1075 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Subscript, Superscript, Tabular Figures, Slashed Zero; • 219 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

We've upgraded TT Hoves Pro with 20 new fonts and Vietnamese! TT Hoves Pro useful links: Specimen | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Hoves Pro is the studio's bestseller, one of the top three universal sans serifs along with TT Norms® Pro and TT Commons™️ Pro. TT Hoves Pro has a neutral yet recognizable character suitable for use in any modern project. The font has a large character set, including extended Cyrillic and Latin, as well as a large number of styles. TT Hoves Pro was already perfect, but we made it even more functional! Updated TT Hoves Pro: supports more than 200 languages, including Vietnamese; contains 4 widths: Compact, Normal, Condensed, Expanded; consists of 83 styles, 20 of which are new Compact fonts; includes upright and italic Outline fonts, each with 672 characters; contains an improved variable font that varies in weight, width and slope; includes 1573 characters in each style, except for Outline versions; contains 41 OpenType features, including many ligatures and stylistic alternatives. The geometry of the TT Hoves Pro has remained unchanged. The font lacks pronounced contrast, all terminals are on the same level, and there are wide horizontal strokes in triangular characters. TT Hoves Pro is ideal for web design and use in applications. Perfect for branding, packaging design and printing. TT Hoves Pro OpenType features list: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, c2sc, smcp, dlig, liga, salt, calt, case, zero, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19 TT Hoves Pro language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahi- tian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Afrikaans, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Ma- konde, Malagasy, Mauritian Creole, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Belarusian (lat), Bosnian (lat), Breton, Colognian, Cornish, Corsi- can, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Nahuatl, Quechua,, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Gagauz (cyr), Moldavian (cyr), Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Azerbaijan, Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kab- ardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Altai, Buryat, Dolgan, Enets, Evenki, Ket, Khakass, Khanty, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Manci, Shor, Siberian Tatar, Tofalar, Touva, Aleut (cyr), Alyutor, Even, Koryak, Nanai, Negidal’skij, Nivkh, Udege, Ulch, Bashkir, Chechen (cyr), Chukchi, Chuvash, Erzya, Eskimo, Kryashen Tatar, Mari-high, Mari-low, Mordvin-moksha, Nenets, Nganasan, Saami Kildin, Selkup, Tatar Volgaic, Udmurt, Yakut, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk, Talysh (cyr), Russian Old, Vietnamese

Blackletter typefaces follow certain fixed rules, both in respect to their forms and to the orthography. Possibly, they were a reaction to the half-developed Carolingian minuscule which was soon to end in the Latin script. Narrow, ordered script was to replace the round, hesitant and shattered shapes of letters in order to simplify writing, to unify the meaning of individual letters, and to save some parchment, too. Opposed to the practice common in monasterial scriptoriums where Uncial, Irish and Carolingian inspiration flew freely and as a result, the styles of writing differed in each monastery, the blackletter type was to define one, common standard. It was to express spiritual verticality, in perfect tune with the architecture of the Gothic era. Typography became an integral part of the overall style of the period. The pointed arch and the blackletter type were the vanguard of the spectacular transformation from the Middle Ages towards the modern era, they were a celebration of a time when works of art were not signed by their makers yet. Some unfortunate souls keep linking blackletter solely with Germany and the Third Reich, while the truth is that its direct predecessor, the Gothic minuscule, evolved mostly in France. Even Hitler himself indicated blackletter type obsolete in the age of steel, iron and concrete – thus making a significant contribution to the spreading of the Latin script in Germany. Once we leave our prejudice aside, we find that the shapes of blackletter type have exceptional potential, unheard of in sans-serif letterforms. The lower case letters fit into an imaginary rectangle which is easily extended both upwards and sideways. In its scope and in the name itself, the Moyenage type family project is to celebrate the diversity of the Middle Ages. I begun realizing the urge to design my own blackletter when visiting the beer gardens of Munich and while walking through the villages of rural Austria. The letters from the notice boards of inns are scented with spring air, with the flowers of cudweed, with white sausage and weissbier. The crooked calligraphic hooks and beaks seem to imitate the hearty yodeling of local drinkers and the rustle of the giant skirts of girls who distribute the giant wreaths of beer jugs. Moyenage is, however, a modern replica of blackletter, so it contains some otherwise unacceptable Latin script elements in upper case. I chose these keeping the modern reader in mind, striving for better legibility. The font is drawn as if written with a flat pen or brush, and with the ambition to, perhaps, serve as a calligraphic model. In medium width, the face is surprisingly well legible; it is perfect for menus as well as posters and CD covers for some of the heavier kinds of music. It has five types of numerals and also a set of Cyrillic script, symbolising the lovelorn union of Germans and Russians in the 20th century. Thus, it is well suited for the setting of bilingual texts of the German classic literature, which, according to the ancient rules, must not be set in Latin script.

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

With the clear, simple elegance of its sans serif forms and the warmly human touches of its tapering stems, the Optima family has proved popular around the world. In 2002, when it was finally possible to produce digital alphabets without technical limitations and compromises, and more than fifty years after the first sketches, an expansion and redesign of the Optima family was completed and released as Optima nova. Hermann Zapf and Japanese type designer, Akira Kobayashi, collaborated on the project, which included re-working of the existing weights and the addition of several new weights: small caps, old style figures, light, heavy, and condensed. The original Optima was never manufactured with a real italic, only an oblique version of the roman. Optima nova has a complete range of beautifully designed real italics; the new italic forms, of the e, f and g are especially notable. The titling face includes capital letters with special and unusual letter combinations and ligatures, making it an excellent choice for headlines, logos and advertising purposes. Optima continues to be an all-purpose typeface; and Optima nova works for just about anything from book text to signage. Optima Nova® font field guide including best practices, font pairings and alternatives.

Download PDF Instructions from https://peggofonts.com/download/Rationell-Instructions_4.59.pdf Behance presentation https://www.behance.net/gallery/88695175/Rationell Rationell is a functional multipurpose corporate typeface, based on classic 1950's swiss rationalism, subtle tuned on a XIX century didonesque modernist structure, a contemporary interpretation with the eyes of the Latin idiosyncrasy. Designed in 12 upright weight with 12 matching Italic, from Hairline to ExtraBlack, average weights (Light to Bold) are easily read on text sizes, printed and digital media, while Hairline to ExtraLight and ExtraBold to ExtraBlack are especially suitable for big contexts like headlines, poster and higher sizes as big as storefronts, monumental billboards or building size printed mesh covers. 40 OpenType features: Standard and Discretionary Ligatures, Lining, Old Style and tabular numerals, scientific and fractional forms, slashed zero, stylistic and contextual alternates (rounded dots, "Il" readability, auto roman numbers, auto group enclosed numbers, slashed zero on alphanumeric contexts), sensitive case, localized forms, glyphs composition/decomposition, access to all alternates. Rationell has a serious but kind timeless look, an ideal voice for corporate publishing, branding, wayfinding and complex technical information systems. It Supports 222 Latin based languages, with +2200 glyphs Rationell is capable to solve the most advanced nowadays global design needs.

Raylig is a graceful serif but full of energy, Raylig is an experimental project full of selfishness in it, this project was designed by khaiuns in May 2021, he made it himself so it took about 4 months. Raylig is a desire to present the perfect font for your wide variety of projects so that this type of font can be selected for branding, especially in the UI / UX industry, also suitable for typographic layout for magazines, posters, books, etc. With hard work and spending a lot of time, comes the Raylig Serif font that has interesting things, such as: 10 styles: 5 Original, 5 Alternative 650 glyphs in each style Support for more than 190+ languages: Expanded Latin, and many other languages Each style has 33 really cool alternatives, and find something interesting Raylig also has classic characters, but it is also perfect for your modern design, you can see it on display, such as in thin body size (light), Raylig makes a neutral impression, but when the size is getting bigger (Bold), users are taken on a fun search to find interesting movements, graphic peculiarities, and unusual solutions. All letter patterns are perfectly adjusted. I hope you have a blast using Raylig. Thanks for use this font ~ Khaiuns X zelowtype

Neuarc Font Family This is the 20th font family of CozyFonts Foundry, established 10 years ago in 2012 with the release of Aladdin Bold. Neuarc is based loosely on arcs and curves, hence it’s naming. As shown in one of the font posters that serves to showcase this font, a collage of rough sketches is displayed as the poster’s background. These hand drawn pencil drawings were worked and reworked and The final drawings were scanned and built in Adobe Illustrator and transferred to glyph windows, glyph by glyph, in Fontlab 8. The 5 styles, so far, are reminisscent of The Art Deco Era of Design between the 1030s and 1950s. Neuarc also has it’s own footprint with several characters that stand out, eg. A, 8, &, B, ?, $, 5, w, x, a, c, e, etc. giving the reason for the ’Neu’ in the naming. These letterforms & Numbers work extremely well in monograms. Each styles has it’s own personality. From the ultra chic Light style to the dominant cool Bold style, this family maintains a uniform legibility at small to large sizes. Meant primarily for display uses, Neuarc works well for posters, logos, headlines, packaging, branding, signage for a myriad of applications. The Neuarc Deco style font will work well in titles and numbers of any application.

The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s. Panos Vassiliou came across this font while attempting to reduce the design elements of a text typeface, by introducing Bauhaus-like minimal forms to the characters. The first version was completed back in 2002 and introduced one year later in Parachute’s 3rd catalog, under the name PF Traffic. Some time later it was decided to make a few improvements but the project was so carried away that the new typeface which emerged needed urgently a new name. Beau Sans Pro is a modern sans-serif family of 16 fonts which includes true-italics. Just like all other Parachute fonts, it covers a broad range of languages by incorporating 3 major scripts i.e. Latin, Greek and Cyrillic in one font. Furthermore, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life. This typeface is totally recommended for titles and/or body text when you want to give a distinct and contemporary identity to a product or service.

“LAPOYA” (meaning in english “the coolest”) is a large slab serif typeface family, with a certain Italian inverted contrast touch. Specially designed for advertising big shows and commerces, Lapoya has 36 variables and four axes, including a text and decorative versions, where the drawing and width of its counterforms vary. It also has icons that remember the old aesthetics of wood types from the early 20th century, and more than 400 characters with a multitude of signs and ligatures, that make Lapoya ideal for up to 89 languages. It is clearly inspired by the large wood types designed for posters, advertisements and newspapers. Since they were introduced in the 19th century, slab serifs have become extremely popular. In fact, serifs are often enlarged, not so much to look like beautiful or balanced letters, but to be more graphic and visual powerful than others. Furthermore, in the case of this typeface, this idea has been applied not only to capital letters, but also to the lowercase, numbers and signs of all kinds. “That’s why this typeface is LAPOYA!” Designed by Carlos Campos in 2023. cuchi@cuchiquetipo.com OPENTYPE FONT 426 GLYPHS 388 CHARACTERS 4 AXES 36 INSTANCES 9 LAYOUT FEATURES 89 LANGUAGES

TELEPATH Telepath by Coniglio Type, first appeared in 1998. It is now in opentype .otf as of 2021. Telepath is a master sampling of a Royal office typewriter of industrial strength provided by the Miller Furniture store, of Dunkirk, New York. It had a baseline set of numbers to make accounting practices easy and line up nicely on the statements. (No gentile old fashioned numerical ascenders and descenders.) Yet, for a a rather old and stolid machine, it was very luxurious and built to definitely take the test of time. Cudo's for Royal Typewriter Company, is all I can say. The set of images were very carefully gathered and has fallen into the preferred category for a typewriter font that has it all. The font has exceptional value as a text font -and- a display font. It contains a great deal of graphic information and doesn't spike at higher sizes. Telepath presents a strikingly handsome typewriter font with a uniquely intuitive difference. Unlike the original source material—scans of monospaced typewriter copy, every font is painstakingly hand kerned for your most demanding copy fitting work in justified or casually ragged settings for print or the web. All Coniglio Type fonts are 100% embeddable. It will get you there.

For many years license plates in Italy have been using a quite peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton. These letterforms have been used by Cosimo Lorenzo Pancini as an inspiration for Targa, published as the first-ever Zetafonts typeface in 2003. Almost twenty years later, Francesco Canovaro has brought the project under scrutiny for a complete redesign, keeping its inventions, solving its issues, and making it into a versatile multi-weight typeface. The original type family has been developed in two subfamilies: Targa Pro Mono (which keeps the original monospace widths) and Targa Pro Roman (with proportional widths), both in five weights plus italics. The original family also included the handmade version Targa Hand which has been paired with a new Targa Pro Stencil to allow for more versatility and choice for display use. All weights of Targa Pro feature an extended latin character set covering over 200 languages, as well as a full set of Open Type features including positional numbers, alternates and stylistic sets. Halfway between postmodern appropriation of utilitarian design and rationalist design, Targa Pro sits comfortably at the crossroads between artificial nostalgia and modernist functionality, ready to surprise the user with its versatility and quirky Italian flavour.

Universo and Universo Stencil by Mauro Andrés and Peggo Fonts is a display font family for “Caos Sagrado” specially designed for informative fanzine and magazines. Its name “Universo” comes from the quote “we have to talk about the horrible things of Universe” with the main idea of supporting and help to expose social problems. Inspired on Retro-Futuristic fonts and poster design and old scientific publications that is becoming a new design trend nowadays, and strongly influenced by the Italian type designer Aldo Novarese’s work, developed in the 50’s. "Universo CS" and "Universo CS Stencil" were produced between mid-September and October 2018 by Mauro Andrés under the creative direction of Victoria Rivas and those versions were publicly showed at “Impresionante” (a massive independent printing expo in Chile) with a printed specimen. That phase of the project was updated and completed in March 2019 and was lastly finished between November 2019 and April 7, 2020, developing it in six styles, under the co-production of Peggo Fonts. "Universo" and "Universo Stencil" are both suitable for headlines and short text lines, music and concert posters, books and magazines covers, branding, logotype and graphic design. All stylistic alternates are accessible via OpenType features or character map.

Presenting the ✨The Minatur Typeface✨ by alitdesign. The Minatur Typeface is inspired by stylish designs from the 80s to 90s. At that time the font style like “The Minatur Typeface” had a firm and trendy impression. The Minatur Typeface has a wide selection of alternative characters and swashes that make it easy to create bold retro-style designs. The Minatur Typeface is very suitable for making designs with retro concepts, simple and playful designs, for example making magazine cover designs, music covers, YouTube thumbs, text headers, logotypes and so on with an elegant retort theme. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Minatur Typeface has a total of 702 glyphs including symbol, multilingual. We really enjoyed the process of making The Minatur Typeface, we hope you are also happy when using The Minatur Typeface. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn’t have Glyphs panel, you can install additional swashes font files.

About Molhim: I first designed Molhim in 2016 as a personal project to digitalize my handwriting. Molhim 2016 was a static typeface, including two weights, and supported basic Arabic only. Since it was my first typeface to design, it had several issues regarding letterform design and aesthetics, good curve drawing, proportions, font programming, and correct OpenType features. So, in 2019 I started redesigning my handwriting font from the beginning to produce a neat Multi-lingual typeface suitable for diverse purposes. Arabic letterforms are redrawn with a focus on proportions and unity. Molhim Variable characteristics: Supports basic Arabic, and Arabic script-based languages, such as Persian and Urdu. Supports Basic and extended Latin characters. Includes 200+ ligatures and alternate styles for a natural flow of letters. Latin small letters have both separated and connected script forms. The variable font comes in two axes, Weight (wght) and Softness (SOFT): The Weight axis ranges from thin to bold, while Softness changes the stroke's cap from a round cap to a sharp projecting cap. Although I see the new Molhim Variable as a different typeface, I decided to keep the name 'Molhim' for the new typeface with the addition of 'Variable'. Molhim is an Arabic word that means 'inspiring'; this is how I hope people would perceive my handwriting.

We Redesigned this Slantblaze-Pro. Slantblaze Pro is an exteme slanted display script with characteristics: Simple, Thick, Contrast, and Dynamic. First launched in 2011, and now we present it again in a new version to provide the best user experience. As italics (default), Slantblaze Pro has aloof challenge as a display font. It was designed as an alternative for headline, title in any purpose such as header, brands, packaging, identity, automotive logo, etc. What’s new and changed: This version 2.02 comes in a True Type OT-flavor version. The outline were designed to be smoother than before. Redesign of ‘C’, ‘E’, ‘F’, ‘G’, ‘T’, and some changes to all other smallcases Removed: question.sc, questiondown.sc, exclam.sc and exclamdown.sc assuming they will never be used Rewrite the features structure and adding some new related to all changes New swashed glyphs: A-Z The writing system of numbers is completed with the old-style version and each tabular and proportional method New contextual (calt) to an alternative look of “A" when combined with all lowercase. Also in this feature we have another way to access Ornaments is more interactive by combining dlig and calt features. Another new glyph may be access only in feature (salt)

FF Signa is a typically Danish typeface, rooted in architectural lettering rather than book typography. Originally designed for signage—hence the name—FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-into-typeface” conversion, FF Signa received a Danish Design Prize in 2002. FF Signa is radically different from most sans serif text typefaces that were published during the 1990s. It neither belongs in the “humanist sans” category, nor is it on the list of typefaces based on 19th-century grotesques. Its concise letterforms and a minimum of detail produce clear and harmonious word images. Yet its proportions are classical, and the underlying geometry has been subtly adjusted in order to create letterforms which are at once interesting, harmonious, and contemporary. These features make FF Signa pleasant for reading, even at very small sizes. The typeface has developed into a versatile family, with Condensed, Extended, and Correspondence versions. Later on Signa Serif, Stencil variants and a Signa Slab family added even more versatility. The resulting FF Signa type system may be used for corporate identities, brochures, magazines, communication, books, and on-screen publications.

Dream Within a Dream was the title of exhibition of Czech art inspired by the work of Edgar Allan Poe curated by Otto M Urban and Veronika Hulíková. Three dozens of artists exhibited their works in the Czech National Gallery in 2020. The cataloguje was printed with the use of the present typeface. Artists took significant interest in Poe's literary oeuvre only after the writer's untimely death. This was mainly thanks to the poet Charles Baudelaire who translated Poe's works to French. As early as in the second half of the 19th century, prominent artists such as Edouard Manet, Odilon Redon, James Ensor and Gustave Doré created remarkable artworks inspired by Poe. Although the first Czech translations of Poe's woks date to the 1850s, artworks inspired by them only appeared several decades later, at the turn on the 20th century. Poe's poems and short stories inspired František Kupka and soon after him, Josef Váchal, Jan Konůpek and František Kobliha. Alfred Kubin, a German artist born in Bohemia, made illustrations for the German translation of Poe's collected stories. Later on, Alén Diviš and František Tichý created further Poe-inspired artworks. Poe was a source of inspiration for Jan Švankmajer and more recently, František Štorm and Jaroslav Róna.

Churchward Typestyle is a clean sans serif font, originally designed as a photo font by Joseph Churchward back in 2002. Under exclusive license, BluHead Studio has digitized this typeface by using his original drawings. We added any missing glyphs, being careful to maintain the aesthetic that makes this a classic Churchward design. Joseph intended this to be a six weight family, so we digitized the Light and Ultra Bold weights and interpolated the middle four. We enhanced the functionality of the family by creating a complimentary set of small caps, as well as creating a 10 degree oblique of each weight, being careful to correct the slanted curve forms of the letters. Churchward Typestyle is now an extensive 12 weight family, ranging in weights from Light to Ultra Bold, making it extremely useful in a broad range of design applications, from text and print, to display, posters and billboards. It’s sanserif design is clean and open, with a few of those characteristic Churchward goodies. Joseph loved his ink traps, so look for many of those! They especially become more apparent in the heavier weights. All of the Churchward Typestyle fonts support the major Western European languages, and have OpenType features for ligatures, smallcaps, tabular figures, superiors, inferiors, fractions, and ordinals.

Evoque Text is a humanist serif type family specifically designed for a comfortable reading experience. This has been achieved by optically adjusting the regular weights from my original Evoque family (released November 2021). You will notice a significantly reduced x-height and longer ascenders and descenders, complemented by adjustments to weight and spacing. This makes Evoque Text a perfect choice for any long passages of text. All OpenType features have been retained from Evoque. A plethora of swash alternates and discretionary ligatures enhance Evoque Text, giving you the opportunity to embellish your typography. Simply activate Stylistic Sets to start adding these flourishes to your text. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 14 fonts altogether over 7 weights in roman and italic, you can also avail of two variable fonts which allow you to fine tune the weight to your exact liking. Evoque Text has an extensive character set (900+ glyphs) that covers every Latin European language. Key features: 7 weights in both roman and italic 80 Alternates 26 Ligatures Small Caps Variable fonts included with full family Full European character set (Latin only) 900+ glyphs per font.

Bion is a contemporary geometric sans serif with a down-to-earth attitude. It is distinguished by a high x-height, vertically cut terminals, and a minimal stroke contrast, giving it a distinctive, sharp look that is both timeless and universally appealing. Bion comes with 40 weights in a single variable file, ranging from Hairline to Black. We also included Upright, Italic, and Condensed variations to give you a fresh and diverse look for poster and title designs. Whatever message you want to get across, Bion has you covered - with support for 220 languages and 1,220 glyphs in total, as well as Extended Latin, Cyrillic and Greek scripts and an exhaustive list of typographic symbols. Our latest typeface also arrives packed full of OpenType features, including an alternative glyph set that will transform the way your text looks, giving it a more squarish appearance and offering additional visualization options. The Bion type family also includes an extensive set of standard and discretionary ligatures, tabular and small figures, fractions, and language localizations. These features work in static and variable fonts alike, providing a ready-made solution to all your advanced typographic needs. This functional, pragmatic typeface is clean and easily readable, making it an ideal choice for both print and on-screen media.

Improved kerning of the Updated Version of 2020 - New Features: • Cyrillic language support • Bulgarian Localization • Completely New Nexa Text subfamily • New ExtraLight weight with a corresponding italics • Stylistic Set suitable for Display purposes - ss02 • Tabular Figures Even the most recognizable typefaces of our time, such as Nexa, should be updated sometimes. We proudly present you with the latest upgraded version of the notorious geometric sans serif. The completely refined family design comes with an addition of one more weight—Extra Light—and its matching italic, alongside an entirely new subfamily—Nexa Text, optimized for longer text, and even a futurist stylistic set of Nexa for an alternative display look. The outcome is altogether 9 weights and 36 fonts! The glyph case now covers not only an improved Extended Latin but a new set of Cyrillic with adequate language localization. The fluent functionality of Nexa is achieved with multiple OpenType features, such as case-sensitive forms, contextual and stylistic alternates. The standard numerals set encompasses tabular figures and symbols, superiors and inferiors, numerators and denominators, plus fractions. The unique appearance of Nexa combined with rich variety places it beyond the scope of regular geometric typefaces for all kinds of scales and purposes and designs that speak for themselves.

Name: Quarpa Styles: 6 styles Glyphs: 394 Year: 2021 This lofty font features a compact structure as well as a unique combination of rounded corners and square contours. The collection includes six styles: Extra Light, Light, and Semi Light that will ensure elegance; Regular, Medium, Semi Bold and Bold suitable for a solid design. Each of them also has Italic variation. It’s an ideal option for outstanding corporate images, logos, promos, or video presentations. Quarpa has proper kerning, multi-lingual support, and ligatures. Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Ido, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkmen, Upper Sorbian, Vunjo, Walloon, Walser, Xhosa, Zulu

BF Konkret Grotesk Pro, designed by Guido Schneider, is a contemporary grotesque with a straightforward style – but a very individual touch. Inspired by classic grotesque typefaces, Konkret Grotesk Pro impresses with its unique character and rhythm: It’s elegant and edgy, flexible and forceful. The Pro family supports up to 220 Latin-based languages. Each of the 16 fonts contains more than 1500 glyphs, including small caps, 7 figure sets, fractions, many ligatures, currency symbols, alternates, special characters and other useful symbols. 11 style sets give you the option to individualize and adjust the typeface to the requirement of your design, without changing the general visual feeling. In this way you can also switch the simply slanted styled Italic into a “real Italic”. BF Konkret Grotesk Pro is a typeface family that can adapt to many requirements without losing its character and expression. The range of 8 weights provides all possibilities. Due to the lovingly designed details, Konkret Grotesk Pro works both in small sizes as well as in display applications. Thus, Konkret Grotesk Pro is ideally suited for contemporary and demanding typographic tasks, both in the fields of editorial design, branding, posters and advertising. (The new Pro edition is the extended and optimized version of the previous BF Konkret Grotesk.)

Optimum readability in small bodies with scarce interlining, under poor printing conditions such as in newspapers, where velocity and bad quality’s irregular surface papers, truly distort strokes was the challenge taken. Pobla was designed with this in mind, hence Patau present a hybrid between the conventional strokes of a serif’s classical roman type and markedly “fractured” forms inside, providing a unique personality to this typographic family, where calligraphic’s humanistic axis is visibly broken with the straight axis of the fabricated letters. Subtle details in the serifs, give it a modern look to a classic skeleton. Very pronounced ink traps get the shapes rounded in the printed product to artificially increase the average medium-eye and promote reading in the small sizes it was designed for. An absolutely handwriting look for the italics, where the rupture of the stroke marks a white’s subtle change to only whisper in the printing surface a slight difference, but without fuss and so not to break the rhythm of reading. And as we are used to, a complete set of OpenType features, where you will find small caps, fractions, ligatures, old numerals and tabular, discretionary ligatures and support for 220 languages; and all available in twelve weights to meet the needs of any newspaper printing.

Thalweg Poetica is a revival font that comes with a story created in 1993 by the Bulgarian artist Ivan Kyosev. It is a sequel to the Thalweg font family completed in 2020. The construction of characters combines the upright character of the Thalweg font and the handwritten character of Thalweg Italic. The font partners perfectly with the Talweg font family and gives designers a new opportunity for expression. Thalweg Poetica contains 4 widths / Normal, Semi Condensed, Condensed & Extra Condensed / and 8 weights ranging from Thin to Black with small caps versions, each style containing more than 1100 glyphs. The font comes with extended coverage of the Latin, Cyrillic, and Greek Scripts. All of the weights are specifically equipped for complex, professional typography with Open Type Features. These features include Small Caps, Ligatures, Discretionary Ligatures, Superscript, Subscript, Tabular Figures, Old-Style Figures, Circled Figures, Arrows, Matching currency symbols, and fraction. The Thalweg Poetica family is ideally suited for small text, books and magazines, branding, posters, as well as web and screen design, headlines, and more. The Regular and Medium weights are perfect for body text and they give an interesting texture to the text. The range of styles gives good flexibility to this family.

Condell Bio Poster is part of the bigger Condell family: a project that involves series of typographies that started to be conceived and developed since 2006. It also includes a bigger legibility version and a sans serif. Condell Bio is very versatile and can be used in the agroindustrial production. Thanks to its strongness and its charm, it can be used in different projects where a short and powerful message is required. For instance in a brand marketing campaign. The Condell project follows in terms of time the design of Comalle (a font also designed by Juan Pablo de Gregorio in 2006), but if we compare them, Condell seems to look for a major range of uses rather than a mere stylistic inspiration. And even if it keeps in its shape some organic forms, Condell seems to be much more similar to a sans serif traditional typography. Condell's fat and soft forms and its nice endings, inspired through spontaneous brush strokes, give it a very peculiar pleasant connotation. Its Italic (10 degrees inclination) have been produced singularly, not automatically calculated by the software. Condell Bio Poster is composed of 2 styles: the regular and the italic. Each one of them have 599 characters and is composed of 206 languages.

After a couple of weeks of teasing, sneak previews & insta shots, my new typeface is finally here. Noir Jolie is a modern ligature serif font that comes with curvy & straight combo of uppercase letters and chic lowercase alphabet that together look just perfect. Noir Jolie is also my last font for 2022 so I really hope you guys like it. The font also includes full language support, punctuation, numerals and detailed instructions how to use alternates & ligatures in most of the apps on your computer, as well as in Canva. I invite you to check out the preview images, and I hope you will be immersed in my vision for this creative typeface that, I am sure, will work for all kinds of interesting projects you might be working on this year. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Noir Jolie - Modern Ligature Serif Includes: 25+ Ligatures Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Download PDF Specimen Created as a display typeface in 2012 by Cosimo Lorenzo Pancini, Cocogoose is one of Zetafonts most loved typefaces. A sans serif typeface of geometric proportions, with very low contrast and slightly rounded corners, it was the first typeface to be produced in the Coco series, an ongoing research on the design variation in gothic typefaces through the ages. Cocogoose extreme x-height and ultrabold weight (with regular being comparable to heavy weights of other typefaces), have since then made it very popular for effective display and logo use, also thanks to decorative versions like Cocogoose Letterpress. Since 2016, Andrea Tartarelli has been improving the typeface expanding the original glyph set to include cyrillic and greek and adding extra weights, widths, and italics to the original family range, and bringing Cocogoose to an impressive count of 52 variants. In 2019, Francesco Canovaro has teamed with Andrea Tartarelli and Cosimo Lorenzo Pancini to create a new variant subfamily: Cocogoose Classic, featuring 8 weights and matching italics. Cocogoose Classic keeps the original design for uppercase characters while developing a new design for lowercase, with a smaller x-height, round dots and expanded open-type features, including positional numerals, alternate forms, and extended ligatures and bringing the glyph count to over 1000 characters.