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

The Hybi5 font family can be described as a “crossover” between Antiqua, Grotesque and Brushscript with characteristics from all of this genres. My aim was to design friendly and versatile fonts, which can be used for headlines or slogans as well as for some longer texts. To make the fonts useful for as many languages as possible, I added a lot of exotic accents. All styles contain the whole “Adobe Latin 3 (CE)” character set plus a few letters from “Adobe Latin 4”. A lot of ligatures prettify the look of the fonts. Alternate uppercase letters in the script style might do the same. If you are a professional designer, you will surely appreciate the thousands of kerning pairs within each style, which will make your work easier. I recommend to set Kerning to “metric” and spacing to “zero” in your layout app. Back in 2015 I worked on the first sketches of “Hybi5” using Adobe Illustrator. “Fontself Maker”, an extension for Illustrator, was used to convert the drawings into font-files. This tool can only create “OTF” font files. For this reason there are no “TTF” versions. It’s not the first font I have ever made, but the first to be distributed commercially.

Say hello to new serif font, Holy Cream! Holy Cream is a font that takes you back to the trendy retro era. With a classic display serif style but with a modern feel, Holy Cream emphasizes the uniqueness and elegance of each letter. The bold, contoured serif design provides a strong vintage touch, while stylish and quirky alternatives add a charming creative dimension. When using Holy Cream, you will feel a touch of fun nostalgia, but also explore ongoing design trends at the same time. Whether you want to feature your headline in a print ad, poster, or other graphic design, Holy Cream delivers a trendy, retro vibe that grabs attention with its ability to adapt to a variety of visual styles. So, with Holy Cream, make your design speak in a stylish and unique retro style, captivate the audience and make an unforgettable impression. Here's what you get: Holy Cream Regular and Italic All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu)

Lady Edith harkens back to the days of flappers and cocktail parties. The early part of the twentieth century, when Art Deco was at it’s height and high fashion was all the rage. A time of beauty, class and elegance. A minimalistic font with clean lines and just enough flare to make it unique. The perfect font for any occasion that needs a bit of high end magic. There is no lower case for Lady Edith as it is a decorative font. The Upper case version serves both the upper and lower case keys. Lady Edith has a glyph count of 397 and supports the following languages; Supported Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

946 is a multilingual techno-style family developed by Berlin-based type designer Roman Wilhelm (RomanType). While more and more text families have recently been extended to a multilingual and multi-script level, not so much attention has been given to the more decorative styles. The 946 family does exactly that. A lot of care has been given to the various diacritics: they were designed a little more brutal, a little more European than with some other fonts of this category. Do also watch out for the non-Latin legs of this family. 946 is inspired by electronic music. When Roman found a second-hand Roland TR-606 drum machine in a store in his hometown back in 1995, he started to hang out with would-be DJs and musicians, trying to play the beats that went around the globe. When he started to study visual communication three years later, he was assigned the matriculation number of 946, which has now become the name of this family. Language support: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Vietnamese, Zulu. Do also watch out for the other script versions of this family!

Clean, crisp, rational, familiar, modern… serifed. Positype Scotch reaches back to history just enough to produce something warm and easy on the eyes. No corners were cut, no quick tricks… this type suite was drawn for specificity: Text, Display, and Deck… ALL in 3 widths that now include Condensed and Compressed. Each unique, each inter-connected, each part of the whole. Scotch Text is offered in 6 weights with matching true italics. Drawn for economy and an easy read, the family is a workhorse for long-passage text settings. 4 sets of numerals, well-proportioned small caps, and a plethora of extras round out each font. Scotch Display is not just a thinner version of Scotch Text wrapped in a higher contrast. Display sports shorter ascenders and descenders, a unique footprint, great contrast, and a more folded, calligraphic italics. Display subtly oozes sophistication and provides an attractive, exhuberant companion to Scotch Text. Scotch Deck rounds out the offering by choosing to be specific to its offering. Deck utlitizes traits and proportions shared between Text and Display, but alters its overall mass to balance out the needs for settings that require subheadlines, callouts and other similar uses. Essentially, something not so high-contrast and not so stress dense that works great for middle-sizes.

Look, folks! From what may just be the vernacular sign capital of the world, Chattanooga, Tennessee, it’s a brand new hyperfamily from insigne! Look includes three different related fonts, with three weights each. That’s over 70 fonts! Imagine: you turn onto a stretch of open country road. On the distressed, red background of an old barn wall, a large block of crisp white letters shout out: “See Rock City.” You soon realize this barn is not alone in competing for the passing eye. Far from it, ladies and gentlemen. This is just one of the many pieces of historic, hand-painted advertisements dotting the great Southern United States. Yes, these are the pieces of true Americana--the barns, the roadside signs, the machinery, the soda fountains, and more--that now inspire this splendid new set of three font families. This new, easily readable type from insigne digs deep to capture the very heart and passion of this splendid country’s lettering of the post-war era. Look’s compact frame quickly draws the audience to your headline, logo, subheading, or pull quote, working well in those compact spots of text without overpowering your content. You'll easily put the feeling of those days gone by into every piece with the natural beauty and simple usefulness of the Look hyperfamily. Each of the individual sub-families incorporates a variety of font weights with distressed attributes. Think Woodtype. Jeans. Antiques, folks. That deep, ingrained texture--that quality that will stand the test of time. And Look is flexible, too. Take, for example, Look Script. This powerhouse of a font offers thinner weights to give your work an easy-going, down-to-earth design. But bring in those heavier weights, and you'll have a muscular, assertive font that will go the whole nine rounds. Combine any of the Look families with Ornaments to really give your layouts a zing. Build an extraordinary design as well with Look’s swashes and alternates. To activate any of these alternates, just click on Swash, Stylistic or Titling Alternates in any OpenType-savvy application, or choose from the Glyph Palette. Explore hundreds of included extras to find that “cherry on top” for your one-of-a-kind project. There are over 70 fonts to choose from, including subfamily sans, serif, script and ornament fonts! You can't go wrong. To get the most bang for your buck, order the whole Look family now! Note on SHADOWS: Increase depth and make your designs pop! Add shadows to any of the Look fonts by duplicating the text content layer in place and switching it to its corresponding shadow. Color and offset to taste. Look shadows are offset automatically. In Illustrator, you may need to turn on Em Box Top for proper shadow alignment.

Baby Megista is a calligraphic script font that comes with beautiful alternate characters. copper calligraphy mix in handlettering style. Designed to convey an elegant style. Baby Megista is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. Its classic style is perfect to apply to all kinds of formal items such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Baby Megista has 304+ glyphs and 150 alternate characters. including multiple language support. It features OpenType with alternative styles, binders and character swashes, which allows you to mix and match letter pairs to suit your design, as well as a touch of ornamentation to make this font look elegant.

If you were a grotesque in mid-20th-century Switzerland, you were expected to be serious and proper, if a little dull. Unlike its dogmatic Modernist predecessors, Formular is a hip Swiss sans serif of the new generation. Inspired by the utilitarian 19th-century grotesques, its precision and and versatility are combined with a slightly eccentric character. A child of its time, it scoffs at the ideology of ‟ideal” forms, yet it is every bit as functional for all its idiosyncrasies, as any self-respecting Swiss sans. Formular comes in five weights with corresponding italics and a monospace companion to the regular weight. Each weight includes special extra-light punctuation, lining tabular and old style figures, case-sensitive punctuation, and stylistic alternates.

The Carlin Script family, inspired by the Carolingian minuscule alphabet (ca 800 A.D.), is one of the great new families available through Linotype's Library's Take Type 5 collection. Take a closer look at these beautiful characters; with them, one can create a different, more personal feeling than commonly comes from more available script and chancery fonts. Like a monk with his writing table, German designer Hans-Jürgen Ellenberger created this new design, which includes 10 different weights, bringing scribal excellence directly to your keyboard. The Carlin Script family includes an additional Initial set-allowing the creation of medieval-flavored drop or initial caps in snap. And the critics are raving: Carlin Script was a winner in the New York-based Type Directors Club's 2003 Type Design Contest!"

Of all student work produced in Joost Schmidt?s Bauhaus classes, Reinhold Rossig?s (1903?1979) alphabet designs are perhaps closest to his master?s teachings: monolinear, geometric lettering, constructed on grids using compass and ruler. Drafts by Rossig, dated 1929, also demonstrate explorations of letterform width and x-height. Almost ninety years later, Elia Preuss carefully preserves Rossig?s letters and considerations in a proper typeface, by overcoming most of the optical mistakes captured in true geometric letterforms. To carry Rossig?s design further away from Schmidt?s influence, Preuss also lent more characteristic letters found on poster designs by fellow Bauhaus student Hermann Werner Kubsch. Reross is a true Bauhaus-influenced geometric sans, equipped with different historic influences and contemporary features.

BoiTu is a typeface in the BoiTu project designed by Vei Vei. BoiTu has a strong contrast between bold bars and long sharp hook strokes inspired by pheasant feathers on the hat in Hat Boi costume. "Tuong or Hat Boi is a form of Vietnamese classic opera, combining various elements of arts such as stage, music, fine art, literature, dancing, and martial arts. Older Tuong plays are usually about historical events or tales. Allegories, melodramas, soliloquies, modes of expression, forms of performance, repartee singing and recitative conventions, etc., are constantly updated and elevated, and are quintessential elements in the art of Tuong." Boi Tu is a classic design to bring traditional art and culture closer to everyone. Boi Tu is a Vietnamese font that supports multiple languages.

Pitmaster was designed with summertime barbecue in mind, with its straight pointed spurs Pitmaster is sure to get attention for any project western and BBQ related. Included in Pitmaster are a few alternates such as a half slab "A" and slab serif "I", also you'll find alternate "O, o" with spurs removed on one side or the other, this is useful when typing two O's together, you'll have the option of selecting one or both O's with the spurs removed between them for a closer fit on the letters. There's also alternate "D" with the right spur removed for a tighter fit with other letters if needed. Opentype case sensitive forms are also available. To all of you Pitmasters out there Keep On Smokin'

A text face in 4 styles Before the arrival of Phototypesetting, each font size had a specific design. Le Monde Livre, designed by Jean François Porchez, along with Le Monde Journal re-establishes this practice. When Le Monde Journal was developed specifically for use at small point sizes (below 10 points.) Le Monde Livre works beautifully for book typography, magazine settings. In comparison to the italics in Le Monde Journal, Le Monde Livre’s italics are of a totally different design, closer to the models of the Renaissance. The families match well together on the same page, Le Monde Journal for small sizes settings, Le Monde Livre for large settings. The verticals metrics and proportions of Le Monde Livre are calibrated to match perfectly others Typofonderie families.

Aye! Verily ‘twould seem ’tis time for thee to speak in the majuscule language of legendary gods! Yea, thou shalt speak most eloquently in the style and manner of many a pseudo-Shakespearian Bard. Forsooth, thine utterances such as “HAVE AT THEE, VILE VILLAIN!” shall cause all ye creatures of evil to begone from the hallowed halls of Asgard (or other otherworldly domains of the gods). Forsooth, Meanwhile Uncial is a Capital Font, suitable for Gods of Thunder, Mischief or e’en Warriors Three! Meanwhile Uncial contains alternate uppercase characters, auto-ligatures for a more natural, hand-drawn appearance, and Comicraft's magical Crossbar I Technology™, to keep that Mighty Character in its proper place. (Artwork from ELEPHANTMEN #32 by Richard Starkings & Axel Medellin, available on Comixology)

Hennigar is a Neo Grotesque sans serif especially useful for display text and headlines. Many of the rounded letters are based on the appearance of the letter O with very little variation in width. Because of it's condensed nature the apertures are narrow with extenders that dip well below the base line. Similarly many of the lowercase characters are based on the lowercase o. Terminals and tails always point east/west giving the entire alphabet a very uniform appearance. Basic Latin, extended Latin, diacritics, punctuation, math symbols, symbols,Greek, Cyrillic, ligatures, fractions, alternates, and kerning are included. Kerning support for Macedonian and Serbian is included via alternate substitutions along with proper italics for Russian. Use Hennigar for a poster, web graphics, or book title.

Salistya is an Elegant script font that comes with very beautiful character changes, a classic copper decorative script type with a modern touch, designed with high detail to present an elegant style. Salistya file Salistya script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a number of decent stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting cards/weddings, packaging, labels or all kinds of advertisements. If you need help or have questions, let me know. I'm happy to help.

Samithan Script is an Elegant script font that comes with very beautiful character changes, a classic copper decorative script type with a modern touch, designed with high detail to present an elegant style. Samithan file Samithan is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a number of decent stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting cards/weddings, packaging, labels or all kinds of advertisements. If you need help or have questions, let me know. I'm happy to help.

Almeliya Script is a calligraphy script font that comes with a beautiful alternative character. a mixture of copper calligraphy with a handleting style. Designed for an elegant style. Almeliya Script attracts soft, clean, feminine, sensual, glamorous, simple and very easy to read fonts. The classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Almeliya Script has 600 glyphs. includes multiple language support. With OpenType features with alternative styles, ligatures and characters, it allows you to mix and match pairs of letters to suit your designs, as well as a touch of ornamentation to make this font look elegant. Thanks You So Much.

This is a deco-style text OpenType Pro font loosely based on Koch's Locarno as seen in KochAltschrift a recent free German tribute to Koch's work. I was familiar with Meek's Letraset presstype version called Locarno, but I never liked the proportions used by either Meeks or Koch. So I radically revised ascender, descender, and x-height to make them more usable and brought the shapes within my sense of design. Mine is probably closer to Meeks than Koch, but hopefully it is a tribute to both. Astaire looks much more modern and it is much more usable. I added oldstyle figures, small cap figures, small caps, several ligatures, and more. There are an italic, bold, and bold italic also in this family

Introducing "Mate" - a modern mecha font that pushes the boundaries of typographic design. Inspired by the sleek aesthetics of mecha machinery, this font combines hexagonal formations with a futuristic and cyberpunk visual language, giving your projects a bold and captivating edge. The "Mate" font captures the essence of the future with its hexagonal shapes meticulously integrated into each character. The geometric precision and interconnectedness of these forms create a visually striking and dynamic appearance. The carefully crafted letterforms evoke a sense of advanced technology and mechanical elegance, making them perfect for projects seeking a contemporary and cutting-edge look. With its cyberpunk-inspired design, "Mate" transports your audience into a world where technology and imagination intertwine. The font's sleek lines, sharp angles, and futuristic elements capture the essence of a dystopian future, adding an air of intrigue and sophistication to your designs. The unique hexagonal feels of "Mate" create a sense of interconnectedness and harmony within the letterforms. Each character seamlessly integrates into the next, forming a unified and visually captivating composition. Whether used in titles, logos, or headlines, this font demands attention and conveys a sense of progress and innovation. Unleash the power of "Mate" in your design projects to evoke the spirit of mecha aesthetics. Whether you're working on sci-fi book covers, gaming interfaces, futuristic posters, or branding for technology-driven companies, this font will effortlessly infuse your creations with a modern, cyberpunk-inspired charm. With "Mate," you have the perfect tool to unleash your creativity and redefine the boundaries of typographic expression. Let this modern mecha font propel your designs into a realm where imagination meets technology, and the future is brought to life in stunning visual form. This font is perfect for Logo designs, Gaming branding, Technology magazines, Sci-fi book covers, Cyberpunk posters, Futuristic product packaging, Robotics company branding, Virtual reality interfaces, Futuristic event invitations, Mecha-inspired apparel branding, Tech-themed websites, Dystopian novel covers, Futuristic movie titles, Cybernetic-themed party invitations, Gaming convention banners and many more! Mate features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +298 Total Glyphs

The 1907 Barnhart Brothers & Spindler type specimen catalog called this unique typeface simply "Umbra". Since that name is already taken, it now has another. Due to the highly ornate nature of this face, the font has a limited character set (all accented characters, but no math operators or fractions). The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Economica Pro is a font especially developed for design in complex situations: It is ideal for use in small sizes on screen and in print. It has been tested successfully for use in very small sizes without losing legibility. Its ink traps ensure smooth operation even on low quality papers. It is an ideal font for newspapers, news portals and all designs requiring space saving. Now also in Cyrillic!

The first photo-typesetting machine in operation, the Uhertype, was introduced in 1925. It was a combination of manual phototypesetting machine and make-up machine. The machine’s typefaces were designed by Jan Tschichold. The patents on Uhertype were bought up at the time to prevent the invention of filmsetting spreading. Jan Tschichold has been very influenced by Gill Sans (1928) for this humanistic sans serif drawn in 1933/36 for Uhertype.

This font is packed with over 1,100 glyphs and gives you vast possibilites to give handwritten feel to your text - be it in English, Íslenska, Russian, Cymraeg or Čeština. Apart from featuring great number of letters there are also dingbats, roman numerals and mathematical operators included. Recommended to use in projects where personalized, legible, cheerful and straightforward look is required. The design is inspired by mature handwriting, unisex in expression.

Based on a letterpress typeface using the same name, FDI Mainzer Initialen is a carefully crafted set of German blackletter initials using three colors per style. 10 palettes are available as individual styles and can be used in design applications such as Photoshop, Illustrator, InDesign and Affinity Designer. Make sure your operating system and apps already support OpenType SVG fonts before buying a license for FDI Mainzer Initialen.

Abdo Text is an Arabic Naskh font for books and magazines discriminate accurately design and clarity of reading, it comes in one weight. Will later add mor weights and a copy of it to write the Koran Ottoman drawing. This is an OpenType Font supporting Arabic,and compatible with the various operation systems and modern software. This font also contains many of Stylistic Sets, Ligatures and Justification Alternatives - 775 glyphs.

Get your Aussie on! The new typeface, Ainslie, with its mix of influences from Oz, makes its mark as the first semi-serif from insigne Design. Ainslie, named for Mt. Ainslie and Canberra’s inner suburb of the same name, was originally developed for the Canberra Australia Centennial Typeface Competition. Canberra is Australia’s capital, and it’s a planned city designed by American Walter Burley Griffin, a contemporary and one-time associate of Frank Lloyd Wright. Griffin’s plan involved a distinctly geometric design with several focal points--one of which was Mt. Ainslie. This same purely geometric scheme is now the basis for insigne’s new release. Similar to the Chatype project in its scope, its challenge, and the way its concept was developed, Ainslie incorporates influences from Canberra and surrounding areas to form a font that is uniquely Australian. In comparison, Chatype was developed for the city of Chattanooga, Tennessee by insigne in conjunction with designer Robbie de Villiers. Chatype took elements from Chattanooga’s industrial character and Cherokee past and merged them with the area’s technological influences. Likewise, Ainslie takes Canberra’s distinct, geometric design and blends it with the organic, flowing effect of aboriginal art. Add in touches from the smooth, aerodynamic design of the boomerang and Ainslie gives you a look uniquely Australian yet usable in a wide range of applications. The fashionable typeface includes a multitude of alternates that can be accessed in any OpenType-enabled application. These stylish alternates along with a number of swashes as well as meticulously refined details with ball terminals and alternate titling caps keep the font well accessorized. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. While Ainslie wasn't selected as the final font in the Canberra competition, the outcome allowed for additional adjustments to the typeface. Several approaches were attempted for the final product including a technological hexagonal concept, which may still be developed to another form later. Some of the organic forms were removed and substituted with more abrupt endings, leaving the face looking pretty spiffy and a fair bit more legible. In the end, Ainslie was pulled back to the basic forms from which it was started. Give it a go for your next project. It’s guaranteed to be anything but a barbeque stopper.

The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

Here is another design by jewelry designer Max Joseph Gradl. Zier is a verb, meaning to decorate, adorn or ornament; zierlich means decorative, elegant, fine, neat. Schrift means type. Zierschrift, therefore, means decorative type. Gradl Zierschriften is a decorative type in the Art Nouveau style, rather than the more ornate Victorian style. Very modern, very young, with an elegant simplicity of form. Maria Makela, in her book The Munich Secession (Princeton 1990) suggests that the frequent use of simple, flowing, organic forms that was so characteristic of Art Nouveau was a reaction against the growing complexity and rapid urbanization that resulted from 19th century industrialization. In keeping with that reaction is the hand-drawn quality that intentionally rejects a mechanistic mathematic precision of line rendering. Gradl Zierschriften preserves that hand-drawn quality. Designed with upper case only, this face was obviously intended for short headlines only and is best set at 18 points or larger. However, I don't think you really get to experience the grace of this design until you get to 36 points or more. In the larger sizes, it is simply stunning. Please note that while most of the uppercase letterforms are repeated in the lower case for convenience, the ‘F’,‘L’ and ‘T’ are rendered a little narrower than in the uppercase to provide for visual variety. The font also includes a generous supply of ligatures for just the right fit ... and just for the fun of using them. Three common ways of inserting a ligature, accented letter or other special character are: 1) Key in “ALT”+“0”+[ascii #]; for example ALT+0233 for the e-acute, 2) From within your application program, go to the INSERT menu and look for something like “Insert Symbol,” (this function is NOT available in all application programs) & 3) Cut & Paste from the CHARACTER MAP display that has been supplied by every generation of Windows Operating System that I can recall (All Programs>Accessories>System Tools). Isn't it amazing what you can do? Don't be afraid to experiment. If you back up your work, you have very little to lose and a lot to gain. Not only do you acquire a new tool, but by the very process you have learned how to continually expand your knowledge and skill base.