Kaat is a new type (2013). It was designed by Chris Nuijen and named after his daughter Kaat. It represents the period in which everyone has their face behind the latest mobile phone screen or interactive games console. "Kaat"is slick, modern and progressive, to reflect our busy immediate life style, whilst providing the essentials in a period where people can be judged on television. Kaat is here to stay and to evolve. Everyone wants to try to be that little bit different, but essentially we are all the same, with the same inherent needs, just like babies or children. We need to be fed, watered, nurtured and loved, the only difference is in today's world you can do all that from behind a screen. "Kaat" bridges that gap, transcending the basic needs of type, with the sophistication and fast paced sharpness of today, everyone wants to be different but we all stay the same, this is a reflection in the thickness and shape of each glyph. The font represents how we are molded and cast differently in yet we still stay the same, because we need the repetition! Everything needs to be done quicker, simpler and cheaper. We eat we sleep we communicate.

Like many cities in the Midlands and North of England, Stoke-on-Trent has a rich history linked to making and industry. In Stoke’s case it was pottery. In the early 1900s bottle kilns could be seen covering the landscape of the six towns making up Stoke-on-Trent with hundreds of factories producing some of the best ceramics in the world. But by the 1990s most of these had gone. Torn down for development of housing or just left to rot. During the next few decades Stoke continued to change. The industry was in a decline and Stoke itself was seen as another poor midlands city with a dwindling industry. Then in 2008, Spode, one of the largest and most famousceramics factories in Stoke entered into administration. Pens cast aside, drawings left half finished, designs left in the turned-off kilns; Spode factory was abandoned. This was a real shock and the way everything was getting thrown into skips to be put on the tip was heartbreaking. Thankfully people salvaged some of the technical drawings, sketch design, old sample pieces and ceramics that people hard worked so hard on. Potbank has been in development over a number of years taking inspiration from the heritage and designs from the ceramics industry. It has a mixed Clarendon and Antiqua style structure with its main purpose to be used as a printed type.

At this pivotal juncture, where every choice casts long shadows, the imperative of pinpointing the archetype of typefaces is of paramount importance. One mere oversight, and the soul of your endeavor risks being lost in the mists of time. Yet, amidst these crossroads, "Winsel" emerges as the North Star in your typographical odyssey. Birthed in the revered sanctums of insigne design, this typeface is a magnum opus, echoing the artistic brilliance of British poster craft from epochs of golden jazz to times of renaissance. Winsel, in its sheer magnificence, stands as a testament to artistry, each stroke demanding undivided reverence. Be it the valiant weights reminiscent of a guardian sentinel or the graceful finesse mirroring a maestro's touch, Winsel is an unparalleled behemoth. Imbued with the finesse of OpenType, it's poised to embrace the multifaceted European Latin tapestry, while its Small Caps and Titling Caps take pride of place across its grand suite of nine weights. Sculpted with precision, Winsel is the beacon that challenges the ordinary and pledges to be an immortal testament. Seldom has the cosmos aligned to present such an illustrious moment. Fortified with Winsel, you stand on the precipice of legend. Carve your tales into the annals of perpetuity, voice your ethos with unyielding conviction, and let each letter be a symphony of undying commitment. In this epoch, in this narrative, Winsel beckons you to etch history.

Maison Luxe is a revival of a very old font designed in France in or around the year 1820. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. As of November 2016 we have changed the name of this font from Gillé Classic to Maison Luxe which means Luxury House in French. For many years Joseph Gillé was credited as the original designer of this font however we've recently been contacted by a type historian in France reporting that he could not find any evidence supporting Joseph Gillé as the designer and to the best of his knowledge an artist by the name of Sylvestre may be the true designer. If you love this classic font then you're sure to enjoy the alternate version also with a matching lowercase available from FontMesa under the name of Home Style. This version of the classic with its squared off shadow is true to the original design where Home Style has diagonal lines creating a cast shadow. New in 2016 for Maison Luxe is a new matching lowercase, an uppercase German Double S (versal eszett), Greek character set, opentype features including case sensitive forms and old style numerals. We know you'll enjoy the new additions to this timeless classic design.

Woodford Bourne PRO is the evolution of my original Woodford Bourne typeface that was inspired by the iconic stone cast letters on the façades of the 19th century Woodford, Bourne & Co. buildings in Cork City, Ireland. Woodford Bourne PRO has matured with numerous improvements to make it an even more versatile font family. The fonts have been completely redrawn and spaced, there are now an additional 500 glyphs for you to use across 9 stylistic sets. The additions include underlined caps, small caps, petite caps, catchwords, discretionary ligatures and more. Please view the specification sheet before you purchase to see all the glyphs and features. Key features: • Woodford Bourne PRO is a vintage geometric sans, optically adjusted for improved aesthetics and legibility 2 FONTS IN 1 – Use the default contemporary character set, or switch to vintage style with stylistic sets 9 Weights in Roman and Italic Thin | ExtraLight | Light | Regular | Medium | SemiBold | Bold | Black | Ultra Underlined Caps, Small Caps, Petite Caps, Catchwords, Discretionary Ligatures Full European character set 1000+ glyphs per font UPDATED JULY 2021 (v.3) Woodford Bourne PRO v.3 update includes numerous improvements including rebalanced /S/s/ glyphs to make them less ‘top heavy’. Italics have been redrawn to smoothe out irregularities. Improvements have been made to diacritics and glyph coverage now supports all Latin European languages.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Michaelangelo. da Vinci. Bellini. Rafael. Masters of Italian art whose names have dwarfed those of many other great Italian artists. Yet relics from these other artists remain, though often unnoticed because of their practical nature. These unknowns are the Italian Masters of vernacular sign painting, and insigne now gives a nod to their work with its new sans serif, Gineso. Based on its inspiration, Gineso was created for posters, headlines and logotypes. (It does well in apps, too, though the sign painters probably weren’t thinking about that at the time.) Aesthetically remedied, yet still with an uncut charm, Gineso’s condensed qualities make it especially nice for signs and titling where horizontal space is at a premium. The tight, narrow forms of its geometric design leave you with a robust flavor that will remind you of mamma’s spaghetti. But don’t worry; the font’s ample counters ensure your audience won’t be reading through a bowl of pasta. These condensed forms look great on their own or when their seven different weights and matching italics are utilized together. With the included OpenType features, fractions and superior/inferior positions are also available to broaden your palette. Even more, this font is ready for complex, professional typography with OpenType features like alternate letters and a large character set including Central and Eastern European Languages. So when you find yourself (or your project) in a tight space, stir in Gineso to get the right taste for your copy. It may just make all the difference.

Black Witcher is a spine-chilling display font that will cast a spell of fear on your designs. With its big letters and bold weight, this font demands attention and exudes an aura of dread. The horror theme is brought to life with meticulously crafted tree root details on each letter, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, making a powerful statement in your designs. The large size of the letters enhances the font's haunting presence. The tree root details in Black Witcher give the font a sinister and otherworldly appearance, as if the letters are entangled with ancient and malevolent roots. These haunting details add a sense of mystery and foreboding, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Black Witcher fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

When type historians look back on Jim Rimmer, they will consider him the last type designer who just couldn't let go of metal type, even though he was just as proficient in digital type. Lancelot is one definite case in point: A face designed and produced in digital as late in the game as 1999, only to spring onto the new millenium a couple of years later as a metal type cast in three sizes. That was Jim, a time traveler constantly reminding the craft of its origins. This particular time machine was originally designed as a simple set of attractive caps that emphasize the beauty of the variable conventional dialogue between the drawing tool and the intended final form, and the one exchanged within the totality of the forms themselves. Jim designed two weights, with contrast and counterspace being the main difference between them. In 2013, the Lancelot family was remastered and greatly expanded. Lancelot Pro is now a wonder of over 840 glyphs per font, including smaller versions of the caps in the minuscule slots, and alternates and ligatures that can transform the historic spirit of the original design into anything from half-uncial to outright gothic. Language support goes beyond the extended Latin stuff, to cover Cyrillic and Greek as well. 20% of the Lancelot Pro family's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino, Fino, and Fino Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino perform a range of roles far broader than your typical Bodoni or Didot.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Sans is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Sans, Fino Sans, and Fino Sans Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Sans to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Sans family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino Sans perform a range of roles far broader than your typical Bodoni or Didot.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Stencil is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Stencil, Fino Stencil, and Fino Stencil Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Stencil to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Stencil family, along with our entire catalogue, has been optimized for today’s varied screen uses. All these talents let Fino Stencil perform a range of roles far broader than your typical Bodoni or Didot.

The life of Molière is a story of struggle, hard work, domestic unhappiness, death and burial in obscurity and almost in shame. Molière left behind a body of work that not only changed the face of French classical comedy, but has also come to influence the work of other dramatists from around the world. Despite his own preference for tragedy, which he had tried to further with the Illustre Théâtre, Molière became famous for his farces, which were generally in one act and performed after the tragedy. Both the comic and the serious drama were powerfully affected by the work of Molière, not only in his own age and country but everywhere and up to the present time. Didot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784–1811. Firmin Didot cut the letters, and cast them as type in Paris. Along with Giambattista Bodoni of Italy, Firmin Didot is credited with establishing the use of the "Modern" classification of typefaces. The types that Didot used are characterized by extreme contrast in thick strokes and thin strokes, by the use of hairline serifs and by the vertical stress of the letters. As in the extreme contrasts of the literature of Molière, in Didione's typefaces, thick and thin strokes, straight and curved, are the most relevant characteristic for an era marked by the changes.

Myhtring is a spine-chilling display font that will cast a spell of fear on your designs. Designed in uppercase and with a bold weight, this typeface demands attention and exudes an aura of darkness and mystery. Each letter is meticulously crafted with details resembling menacing plant roots with sharp edges, adding an eerie and sinister touch to the font. With its bold weight and uppercase design, this font creates a powerful and impactful presence. The root-like details in each letter of Myhtring give the font an organic and unsettling appearance, as if the letters are entangled with malevolent and ancient roots. These haunting details add a sense of otherworldly energy and create an atmosphere of foreboding and suspense. The combination of bold weight and sharp-edged root details gives this font a sinister and enigmatic look, evoking images of dark and sinister forces lurking in the shadows. The letters seem to possess an aura of malevolence, making it an ideal choice for projects that delve into the horror and the supernatural. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Mythring fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Neon Street is a captivating display font that takes inspiration from the dazzling glow of neon lights found on vibrant city streets. With its bold uppercase letterforms and neon-style inline elements, this typeface exudes energy and creates a visually stunning experience. Each letter is meticulously crafted with neon-inspired strokes that run through the center, adding a dynamic and luminous effect. This inline style brings a sense of urban excitement and nostalgia, evoking the vibrant atmosphere of neon-lit cityscapes. Inspired by the enchanting allure of neon signs, Neon Street infuses a sense of liveliness and modernity into each character. The font captures the captivating glow of neon lights, casting a radiant and vibrant hue that is both eye-catching and mesmerizing. This neon style adds a touch of urban energy, making the font truly stand out with its electrifying charm. The uppercase letter forms of Neon Street are bold and assertive, commanding attention with their distinctive design. Enjoy the various features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Neon Street is perfect for headlines, signage, logos, and any design that aims to make a bold statement with a touch of neon-inspired flair. This font will also inject your project with a vibrant and captivating element, whether you're creating posters, branding materials, digital artwork, or anything in between. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood type. In 2020 the Italiantype team directed by Cosimo Lorenzo Pancini and Mario De Libero decided to produce a revival of Cairoli, extending the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper ink-traps and round punctuation, while slightly correcting the curves for a more contemporary look. Born as an exercise in subtlety and love for lost letterforms, Cairoli stands, like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs. Its deviations from the norm are small enough to give it personality without affecting readability, and the expanded weight and width range make it into a workhorse superfamily with open type features (alternates, stylistic sets, positional numbers) and coverage of over two hundred languages using the latin extended alphabet.

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

Goneon is a vibrant and eye-catching display font designed to bring the electrifying energy of neon lights to your designs. With its big, bold uppercase letterforms and mesmerizing neon style, this typeface captures the essence of a lively and dynamic atmosphere.. Each letter is meticulously crafted to emanate a radiant and electrifying glow, just like the vibrant neon signs that illuminate city streets at night. This neon style adds a touch of excitement and energy, instantly drawing the viewer's attention. Inspired by the pulsating rhythm of city nightlife, Goneon exudes a sense of modernity and vibrancy. The font captures the essence of an urban atmosphere, casting a dazzling neon glow that creates a lively and captivating visual impact. Each letter radiates with an unmistakable charm, bringing your designs to life with its electrifying vibes. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Goneon perfect for headlines, banners, posters, and any design that requires a bold statement. The neon style adds an extra layer of excitement, making your text shine with a dynamic and eye-catching appeal. Whether you're working on advertising campaigns, event promotions, digital artwork, or any creative project that calls for a lively aesthetic, this font will instantly infuse your designs with an electrifying energy. It particularly shines in applications related to nightlife, entertainment, music, and urban-themed designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood type. In 2020 the Italiantype team directed by Cosimo Lorenzo Pancini and Mario De Libero decided to produce a revival of Cairoli, extending the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper ink-traps and round punctuation, while slightly correcting the curves for a more contemporary look. Born as an exercise in subtlety and love for lost letterforms, Cairoli stands, like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs. Its deviations from the norm are small enough to give it personality without affecting readability, and the expanded weight and width range make it into a workhorse superfamily with open type features (alternates, stylistic sets, positional numbers) and coverage of over two hundred languages using the latin extended alphabet.

Neonrec is an innovative display font that merges futuristic aesthetics with the mesmerizing allure of neon lights. With its bold uppercase letterforms and a luminous neon backlight, this typeface commands attention, creating a visually stunning and forward-thinking experience. The special characteristic of this font lies in the sleek and cutting-edge design, embodying the essence of a futuristic world. Each letter is meticulously crafted with precision and sharp lines, exuding a sense of technological advancement and modernity. The neon backlight adds a striking visual element that elevates the font to new heights. Inspired by the captivating glow of neon lights, Neonrec infuses a sense of energy and innovation into each character. The luminous backlight creates a radiant glow that casts a captivating hue, reminiscent of the neon signs that adorn the streets of a futuristic metropolis. This futuristic neon effect adds depth and dimension to the font, creating an eye-catching visual impact. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Neonrec is perfect for attention-grabbing headlines, logos, and sleek branding applications that require a touch of futuristic sophistication. It is thrives in designs that embrace a forward-thinking and cutting-edge style. Whether you're creating posters, digital interfaces, sci-fi themed artwork, or anything in between, this font will add a captivating futuristic element that sets your project apart. It shines particularly bright in applications related to technology, gaming, science, and futuristic-themed designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Neonline is a captivating display font that combines rounded letterforms with a subtle neon-inspired style. With its elegant uppercase characters and unique design, this typeface adds a touch of sophistication and modernity to your projects. The defining feature of Neonline lies in its rounded shapes, which exude a sense of softness and approachability. Each letter is meticulously crafted with smooth curves, creating a harmonious and pleasing aesthetic. The rounded forms give the font a friendly and inviting appearance, while the subtle neon style adds a hint of excitement and vibrancy. Neonline infuses a sense of allure and intrigue into each character. The font captures the essence of neon signs, casting a subtle glow that evokes a contemporary atmosphere. The neon style adds a touch of modernity and visual interest without overwhelming the design. The uppercase letterforms of Neonline are refined and sophisticated, commanding attention with their rounded shapes. The moderate boldness of the letters strikes a balance between impact and legibility. Enjoy the various features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Neonline perfect for headlines, branding materials, titles, and designs that call for a touch of elegance with a hint of neon inspiration. Whether you're creating posters, logos, packaging, or anything in between, this font will elevate your projects with its unique charm. It particularly shines in applications related to fashion, beauty, technology, and modern lifestyle themes. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The Maiandra family of typefaces were inspired by an early example of Oswald Cooper's hand-lettering, as seen in an advertisement for a book on home furnishing, circa 1909. Although many of Oz Cooper's letterform designs were cast in metal type, this particular one was not. Cooper's design itself was inspired by examples of letterforms he had admired in his study of Greek epigraphy (inscriptions). Cooper combined those ancient forms with the flair characteristic of design styles of his time. The result was an attractive design possessing subtle, purposeful irregularities, or "meanders" in his skilled brushwork. The Cooper design exhibits a unique warmth and harmony in text, while presenting a compelling rhythm, color and texture on the page. "Realizing the presence of this uniform warmth and readability," notes Dennis, "I decided to expand the design into a family of three weights with companion italics." The weights for the Maiandra family were selected for their versatility in usage over a broad range of output device resolutions. Indeed, "the consideration of eventual display resolutions, be they for screen or printer, provided the greatest challenge in the design of this typeface family," explains Dennis. Creating shapes that conform to the rigors of digital letterforms and modern rendering environments, without losing the unique characteristics of Oz Cooper's original design, is what Dennis has accomplished with his tribute to this great designer of the past. Maiandra, whose name derives from the Greek 'maiandros', meaning 'meander,' is intended for extended text use, as well as for informal subject matter, such as business correspondence, brochures and broadsides. "An example of a good use for Maiandra," notes Dennis, "is in printed matter relating to the turn-of-the-century art period known as the Arts and Crafts Movement. It can stand alone or be used with designs that complement its shape and color."

INSPIRED BY THE LOVERS OF LETTERS AND ANCIENT ANIMATED DRAWINGS: We present one of our most desired typographical tools of 2019: NUTCAKE CATCH-WORDS! Designed and produced by #carlosfabiancg and #a_freitez at different times and places in Venezuela and Colombia. Each word design was like “travel to the old school of hand lettering of 1930” due to the number of options and alternatives we discarded to solidify meticulous researches and Bezier drawings, based on analysis and synthesis of empty and full calligraphy, first done with a round brush and then perfected with pencil and paper. For this reason, each NUTCAKE CATCH-WORDS design contains a high dose of cursive expressiveness, apparently handwritten, and that is why our customers can take advantage of more than 160 words compiled in a single OTF file. NOTE: if you need any new word with the NUTCAKE CATCH-WORDS style, please write us and we will gladly design it to include it in your file. Below the list of 160 catch words: and, An, All, As, After, Ante, Avec, Break, Bright, Big, Back, Both, Best, Body, Butter, Breakfast, By, Bajo, Coffe, Café, Closet, Can, Cocktail, Cookies, Custom, Cabe, Con, Contra, Could, Crisp, Candy, City, Chocolate, Chocolat, Come, Del, Don't, Deliver, Desde, Di, Durante, Enjoy, Eat, Example, El, En, Entre, Front, Fire, Free, Fashion, For, Fresh, Friday, Family, Going, Great, Go, Heres, Here, Hand, Hacia, Hasta, Have, I'm, It’s, Imagine, It, Join, Just, Jam, Kitchen, Kiss, Know, Keep, Like, Life, Lady, La, Las, Les, Los, Le, Love, Money, More, Master, My, Mediante, Now, now, New, new, next, nuevo, nueva, Off, out, ofertas, oferta, offer, offers, Please, Para, Per, Page, Quality, Queen, Question, Valley, Queso, Right, Road, Save, See, Show, Something, So, Según, Sin, So, Sobre, Sale, Shop, Style, Styles, Sweet, Special, To, the, The, Theres, There, To, This, Three, They, That, Tras, Think, Time, Take, Transfer, Until, Vacation, Value, Vote, What, Hats, With, Welcome, Which, You, Y, You're, you, Zip, Zoom, Zombie.

Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882–1956), Imre Reiner (1900–1987), Walter Brudi (1907–1987), Kurt Weidemann (1922–2011) and Frank Heine (1964–2003). During extensive research phases for Referenz Grotesk included collection and analysis. This led to further research in the Academy’s collection and archive where the majority of Weidemann’s estate is housed next to works of other designers and professors like F.H. Ernst Schneidler and Walter Brudi. Another place of research was the typesetting workshop where Schneidler had previously taught and worked. Some of his freshly cast fonts were tested and used there for the first time and are still stored in several of the type cases. Regarding the more recent history, for instance about the Emigre designer Frank Heine, former colleagues and professors have been consulted. These studies resulted in the new font Referenz Grotesk that includes traces of Kurt Weidemann’s Corporate as well as calligraphic hints that link to Schneidler’s Stuttgarter Schule (Stuttgart School) where writing played an important role during the form finding process. For the regular text fonts these features are integrated in a subtle manner whereas several alternative glyphs pick up more expressive forms. The final sans serif type family has a clarity and contemporary straightness that becomes more characteristic in its heavier weights. Additionally more than 60 alternative glyphs per weight allow for individual combinations that can be tailored specifically for each application and context. They open up a broad range of visual expressions, from subtle to playful and eccentric characteristics. Referenz Grotesk is available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black, plus italics. In addition, the family includes multiple OpenType functions such as Stylistic Sets, Tabular Figures and Case Sensitive forms. Variable version of the font is included when you license the full pack.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. ITC Founder's Caslon® was created in 1998 by Justin Howes, an English designer who used the resources of the St. Bride Printing Library in London to thoroughly research William Caslon and his types. As was common in the eighteenth century, Caslon had punchcut several different sizes of his types, and each size had a slightly different design. Howes digitized every size of type that Caslon cast, keeping their peculiarities and irregularities and reproducing them as they appeared on the printed page. This family has the 12 point, 30 point, 42 point, and Poster styles, as well as a full set of bona fide ornaments. In keeping with the original Caslon types, none of the sizes have bold weights, the numerals are all old style figures, and a full set of ligatures (some with quaint forms) are included. ITC Founder's Caslon® is a remarkable revival in the true sense of the word, and works beautifully in graphic designs or texts that require an authentic English or historical flavor.