Meringue, a transitional serif face, is designed specially for modern glossy magazines. It is ideal for fashion photography, fashion publications and mag covers, and can be used for headings and captions, as well as for body copy. The italic version, with its wave-like vertical strokes, creates yet more stylishly expressive feel. Text set in Meringue has an elegant weightless look, and the strongest effect can be achieved with high-quality printing. The typeface includes old style figures, ligatures, and alternative characters that allow creating truly versatile design by means of typography. Designers may also find Meringue perfect for beautiful presentations, invitations and other special occasion papers. Meringue was designed during the Type and Typography course at the British Higher School of Art and Design, supervised by Ilya Ruderman.

Karlostine Font 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!! Karlostine Font come with 250+ glyphs. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, and Ligature. 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. Karlostine Font Features : Uppercase & Lowercase International Languange & Symbols Support Punctuation & Number PUA Unicode Range Standard Ligatures Discretionary Ligatures Stylistic Alternates Stylistic Set 01-03:

When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts in fear as being seen as a one-trick-pony. A few years have passed and some early sumi-e brush ‘doodles’ kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka. This new font was turning out to be far more expressive, smooth and rough, tasty but sticky. This dichotomy demanded a new name. The rough and smooth texture suggested the name Fugu—oddly delicate while rough and functional.

Tristyn is a signature handwritten font package with a personal charm. With a style that I feel is the first time being blended with a different brush so it has a natural hand Tristyn Regular contains upper and lower case letters, numbers and various complete signs. Tristyn Alt includes alternative characters, with capital letters and small that is completely new. Ligatures are available for some lowercase letters (more natural double letters). This can only be accessed through software with different devices or glyph panels, e.g. Photoshop / Illustrator. There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen :)

Introducing Raph Lanok Typeface which has a elegant hand lettering brush style. So it looks natural like a handmade, because Raph Lanok family have a more choice characters. This font is best used for your design project that have the concept of fun, brave and sporty. Can also be applied to the design of a logotype, header website, making some lettering for a quote, t-shirt design etc. Raph Lanok has three font styles that are similar but with a different character, named Raph Lanok Future and Raph Lanok Rusty but that you also get Raph Lanok Swash with a line fast brushed of a used font. Raph Lanok Typeface deserve to be in your fonts collections, because it is unique and has many options of alternative glyphs. Thank you and enjoy :)

Almost every type designer feels the need, from time to time, to interrupt his or her serious work on complex text type systems for something more playful. In Luc(as)'s case this has often meant designing more typefaces. In the early 1990s, while working on Thesis, Luc(as) drew several display faces which were based on the shapes of TheSans but were either de(con)structive versions or experimental variations. Probably the most innovative of these was Nebulae, in which the lettershapes have been dissolved into clouds of bubbles; the three versions can be layered to obtain a denser (and more legible) structure which can also be multi-coloured. A fourth version called ThreeDee (3D) offers a convincing simulation of three-dimensional bubble-like type floating in space.

Highway Signature with a handmade Signature style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Highway Signature come with 200+ glyphs. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, and Ligature. 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. Highway Signature Features : Uppercase & Lowercase International Language & Symbols Support Punctuation & Number PUA Unicode Range Standard Ligatures Discretionary Ligatures Stylistic Alternates Stylistic Set. Thank you,

Stylleda Brush 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!! Stylleda Brush come with 250+ glyphs. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, and Ligature. 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. Shirleya Script Features : Uppercase & Lowercase International Languange Symbols Support Punctuation Number PUA Unicode Range Standard Ligatures Discretionary Ligatures Stylistic Alternates Stylistic Set 01-07:

The Dorrington is a font trio package contain a monoline script and sans serif which looks great to be paired especially for vintage and adventure theme! This font trio is purposely made for headline, display or logotype, and signature which need a standout appearing. This font is also suitable to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : 2 Monoline Script Font and 1 Sans serif font uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.\

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor. Thirteen years later, FontHaus came across another little known typeface treasure: Diane. Designed by the legendary French designer Roger Excoffon in 1956, this remarkable script has never been faithfully recreated until now. In close collaboration with Mark Simonson, FontHaus and Mr. Simonson painstakingly researched rare type books, publications, European metal type services, and period showings from the United States, England, Germany and from the University of Groningen in the Netherlands. Finding full specimens of the font turned out to be quite a challenge. In most cases, only the caps and lowercase were shown. Furthermore, the more we researched Diane, many curious facts came to light. The caps in earlier specimens of Diane are completely different from specimens published later, suggesting that the face was redesigned at some point, perhaps in the mid-1960s. So we are left with two different sets of caps. The original had very elaborate, swirly strokes, very characteristic of Excoffon¹s gestural designs for posters and logos. Later on, these appear to have been replaced by a set of simpler, more traditional script caps. The original caps are criticized in one source Mark found (Practical Handbook on Display Typefaces, 1959) as being "exquisite" but "not highly legible". Perhaps this is what led to the simpler caps being introduced. Nevertheless, FontHaus's release includes not only both sets of caps, but a range of alternates and a number of new characters not originally available such as the Euro, and a magnificent alternate Ampersand to name a few.

In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer. We thought that six and half decades of dust layers over the once-popular typeface were enough, so here and now you have its complete and expanded digital incarnation, Adore. It is quite easy to see why this typeface was popular. A round script with graceful meaty curves is rarely found and can be used in plenty of applications. Wedding paraphernalia, chapter titles, posters, poetry, book covers, religious literature... you name it, Adore can fit it. Aside from its totality being unmatched by currently available designs, Adore also possesses some of the most unique and imaginative letter shapes. The narrow loops on the B, P and R, the minuscule-like Z, the looped b and d, the descending h... all these shapes contribute to a breathtaking and adorable calligraphic work unlike any other. The original design came in a basic alphabet, but we have updated it for current digital technologies, and expanded it to include plenty of alternates and ligatures, as well as some ornaments. The Postscript Type 1 and True Type versions come in two fonts, the second containing the alternates and extras, while the Open Type version is a single font containing all the alternates and extras in conveniently programmed features, easily accessible at the push of a button in OpenType-supporting software. We also encourage you to take a look at Typodermic's Mecheria font, which is further experimentation with the same letter forms, resulting in a quirky, friendly, curly, angular gothic-like creature.

Hispania Script is a distinctive and distinctly nineteenth century script. It was released by Schelter & Giesecke of Leipzig, Germany around 1890. Particularly noteworthy are the sharply-pointed legs of the upper case ‘K’ & ‘R’ that seem to be characteristic of the period. Similar strokes, often with a slight curve, may be seen in typefaces like Alt-Romanish and Tinteretto by Schelter & Giesecke, Artistic and Lateinsch by Bauer and Berthold and the poster lettering of Edward Penfield. The angle of this script (approximately 24 degrees) and the sharp delicate points must have made the manufacture of this face in metal type a challenge. The resulting type was probably quite fragile and subject to accidental damage. Additionally, the sharp points would be subject to wear. With digital type, these concerns are eliminated. As far as I know, no one has ever dropped a digital letter on the floor. Nonetheless, creating a digital outline for a typeface like Hispania Script, with many crossing strokes, can be quite time-consuming. Even with an accurate scan of a good quality original, it is usually necessary to construct each crossing stroke separately and then remove the overlap in order to obtain a sharp and convincing intersection. Steep internal angles are often defined with two points, rather than one, to minimize ink or toner fill that can muddy the rendering in smaller sizes. Like all formal scripts, Hispania Script is always useful for announcements and invitations. However, the distinctiveness of of this design strongly suggests that there are other applications that may benefit from its use. Step outside the box and try it in some unexpected places. It is the unexpected that often draws a person’s eye.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Pan-European family has 17 fonts in total, supporting the W1G character set. It spans six weights from ultra light to heavy, each with an italic complement. In addition, three condensed designs and two monospaced (typewriter) typefaces were drawn to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity. While the family is also large enough to manage complicated typographic hierarchy, SST pairs handsomely with typefaces as far reaching as ITC Berkeley Old Style®, Meta®, PMN Caecilia®, Malabar® and Neue Swift®.

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Jana Nikolic was finishing her degree program at the Faculty of Applied Arts, in Belgrade, with a final project that would combine her two majors: type and book design. Three stories from William Saroyan's My Name Is Aram would provide the text for the book, to be set in a typeface that Nikolic would design. Nikolic knew something special was happening the moment she put pen to paper. The letters just emerged," she recalls. "I started to explore a few new pens and found one I loved. I was able to make its tip bend with pressure." Like the family Saroyan writes about, the design flowing from Nikolic's pen would be simple but a little quirky. "When there were a whole bunch of little black letters around me," continues Nikolic, "I saw that this was going to be a very interesting typeface family." Nikolic drew Latin and Cyrillic letters, lowercase and capital letters, wide letters and narrow letters. She was surprised at how quickly and easily the design came. "There were no badly written letters," she says. "I hardly had to rework them and they fit together remarkably well." ITC Aram's standard character complement consists of one set of lowercase letters and two sets of capitals: one narrow and the other wide. The wide caps can be used with the standard lowercase, or mixed with the narrow caps for a variation on "cap and small cap" copy. The ITC Aram create the opportunity to mix and combine the letters into playful typographic expressions. Words and sentences that twinkle; text that seems light and alive - one runs the risk of creating work that is both delightful and charming when setting copy in ITC Aram."

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

To Rafaella, a menina dos cachos. We, designers, have grown accustomed to seeing that lowercase letters—not only in calligraphy but also in typography (1)—may be very playful and decorative. Almost every part of them can become a potential swash, ligature or decorative accolade (2) if the designer has some expertise regarding this matter. However, since we are living in an era that elevates the status of handcrafts, lettering has gained a lot of ground in different kinds of mediums, and with it there’s a sort of overuse of capitals. This may be due to the reason that lettering pieces need a high impact to convey their messages and many times why big capitals are the only solution. With this in mind, I started Rafaella: A font consisting entirely of capitals which go from unadorned to very decorative. Rafaella has ductus and forms vaguely based on the 1970s Bookman-like styled fonts. The presence and behaviour of serifs and ball terminals in this style were the perfect excuse to make really attractive aternates which the user can choose from the glyphs panel. The result is a font full of life. Able to be both very playful and formal due to its roman style which can be combined with (and between) a wide range of other styles of expressive scripts or geometric fonts with nice results (3). Also try Rafaella Shade Solo combined with Rafaella or Rafaella Bold for a layer effect to emphasize any given word or phrase. NOTES (1) See my fonts Erotica from 2013 or Dream from 2014. (2) Accolades is a wonderful word that refers to the ornaments made around the words in the spencerian style of calligraphy (3) Combinations often seen in different pieces of lettering were usually a contrast of style is wanted.

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

HWT Konop is a monospaced (fixed-width) typeface that is also square! Designed by Mark Simonson (Proxima Nova) as square characters that can be arranged vertically or horizontally and in any orientation. To a traditional letterpress job printer, a font like this wouldn’t make much sense. But to a modern letterpress printer it is an unusual and creative design toolkit. The bold gothic style is reminiscent of gothic wood types but more geometric. Since the characters are meant to be used in any orientation, the usual optical adjustments, such as making verticals thicker than horizontals and making tops smaller than bottoms are set aside. This results in a quirky but charming design. To provide more design options, Simonson came up with a modular system consisting of three sizes: 12-line, 8-line, and 6-line. These three sizes can be used together like Lego® bricks, with endless arrangements possible. And the sidebearing match so that characters always align when different sizes are used together. The digital version of Konop replicates the wood type version as much as possible, including the three different size designs. It includes OpenType stylistic sets that allow most characters to be rotated in place, 90° left, 90° right, or 180°, just like the wood type version. Extra characters not available in the wood type version are included with the digital fonts. The set of 3 is priced just $5 more than one single font, so order via "Package Options" HWT Konop is named for Don Konop, a retired Hamilton Manufacturing employee, who worked from 1959 to 2003. In addition to serving on the Two Rivers Historical Society Board from 2004 to present-day, he was also instrumental as a volunteer in helping with the museum’s move to its current home in 2013.

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Although geometric Sans Serifs have been in vogue for nearly a century, they have never been as ubiquitous. It is not improbable that the old adage would be phrased: “When in doubt, set it in geometric sans”, had it been composed today. Have we not had enough? We think, not. Postmodern times demand a variety of expressions. The vision behind Geometria was to revisit the perennial favorite to lend subtle individuality to its tried and true forms. Geometria stands out in the crowd of similar fonts thanks to its complicated nature. It combines dynamic elements with a certain degree of stability. A slightly higher waistline of the capitals contributes to their distinctive appearance. If the upper case refers to the American grotesques of the 19th century, the lower case tends toward the forms of the Renaissance in its proportions. Geometria is a typeface of clean shapes that is well-suited for continuous reading, and it sets remarkably well. At the same time, it can be friendly, even flirtatious. Its distinct personality combines seeming opposites. At times it may appear serious, at times playful. On occasion, it may be deliberate, other times dynamic. It could seem rigid, then elegant. It is a typeface that could be perceived either as cutting-edge, or as nostalgic. A careful and discerning typographer will bring out and emphasize those aspects of its multifaceted personality that are needed to solve the problem at hand. Geometria consists of 24 fonts — eight weights with matching italics and narrow styles. The font includes multiple sets of figures and currency signs, alternate glyphs, a variety of experimental ligatures, and punctuation marks for the two cases. The 835 glyphs support 72 languages. Granshan 2013 award.

Antique Tuscan No.9 was one of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. The new company was named Page and Company and was located at the Mowry facility in the Greenville section of Norwich, Connecticut. Antique Tuscan No.9 is an extra-condensed version of the tuscan style that had been released in moveable type by Vincent Figgins of London in 1817 and had become so popular for advertising in the intervening years. Because of the extreme compression in the design, we might be tempted to describe it as "Triple-X," but that might be misleading. The analogy would, of course, be to clothing sizes, not movie ratings. Because of the compression, this typeface reads best when set extra-extra-extra large. For printing, we recommend 36 points or larger. For the screen, we suggest at least 72 points. An unusual and distinctive design, it is best used with discretion. If I were doing a term paper for school or submitting an article to a magazine for publication, I might use it for the title page, to grab someone’s attention. I would certainly not use it for the main body of text - not if I expected anyone to read what I wrote. If you wonder why we make this recommendation, take the Ten-Point challenge. Print this paragraph using Antique Tuscan No.9 and set the font size at 10 points. If you are young and blessed with good eyesight, you will probably be able to read it - with effort. So, here is the challenge: hand it to your Grandmother and ask HER to read it.

A vintage look to the future of type, this funky typestyle with circular cut outs was stylish for its day, and a true novelty for today. Blackhole PB began as a digitization of a film typeface known as Circue Solid by LetterGraphics. This typestyle has such funkadelic appeal to it that it just makes me smile. Definitely not for broad uses, but full of novel flair. This font is the bees knees for anyone with a circle fetish. They are like hidden mickeys in this typestyle, building up curves and counters all over the place. Take it for a spin and have a flashback to wilder times.

Ok, so many of you are now probably wondering if I am a teenager. Nope. But I was once, and I had alot of pent up angst like alot of other teens, and maybe this typeface is my outlet for what is left of those teenage days of mine. Take it as you will, but Young Itch is a bold, scratchy, handdrawn typestyle, with that feel of grunge and pent up anger. The typeface comes with its own persona, but I bet it would work itself well into a wide array of designs. Ventilate your current or past teen angst with Young Itch today!

Wasty Pudding was made by drawing a lot of letters, over and over again - and not caring so much about the looks, but focusing more on the speed of drawing, because I wanted a font that represented the way I write, when I am taking notes for myself. It’s not pretty, but it’s legible and scribbeliciously beautiful! :) Anyway, I think the purpose of this font is massive amounts of text. Song lyrics, novels, stories, diaries, manuscripts, books, etc. I bet you can fool someone with them thinking that this is not a font, because I have added 6 different versions of each lowercase letter!!!

Badinjal – Modern Serif Font By Issam Type Badinjal serif font can be used for many project such as: book, magazines, logo, branding, photography, crafts, quotes, blog header, poster, advertisements, and much more. What’s Included? Uppercase & lowercase letters, numbers, punctuation Multilingual support If you have any questions, please feel free to get in touch. Thank you

Ideal for magazines, posters or flyers, Inlove is a modern take of Ariel Di Lisio’s passion for geometric and very contrasted typefaces. Because the strong influence over his work, Ariel was invited during 2009 to be part of the Herb Lubalin Exhibition at New York. Designed by Ariel Di Lisio and digitized by Ale Paul.

A font inspired by Javanese script that has ethnic characters. And this font is also named after the name of my new child born 18 September 2020, whose name is Ganya Agathsya. This font is suitable for logos and some ethnic products. And can be tailored to a variety of needs. Thank you Tahta Ega

Get your creative juices flowing with Morning Walk! This playful font suits any project, bringing life and fun with its carefree vibes. Get ready to be inspired and let your ideas run wild with this versatile and easy-to-use font. Upgrade your designs today and add some positive energy to them with Morning Walk!

Winterbreak is a playfont font and doodles set. It includes: 3 variations of the Winterbreak font that can be used together to create interesting hand-lettering compositions 1 set of doodles that complement the handwritten fonts perfectly Use Winterbreak in designs such as postcards and notes, posters, logotypes, social media posts, branding and packaging.