The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections. The idea of this typeface outlines arrived to the authors exactly on the viewing platform, under the impression of the waterfalls, which are escaping from the dam womb, falling from almost 50 meters altitude and becoming white-haired during this flight. Release: in the form of "gorod.Volgograd" font with the one style. We work with other styles now and sometime we will be very glad to introduce the Bold and Italic styles to You. We should explain the font name meaning. "Gorod" is "city of" in Russian and Volgograd is the old, big and famous Russian city. The Volga hydroelectric power station of a name of XXII congress of the CPSU caused the Volgograd sea formation. It expands of 14 km width and more than 600 km along the Volga river-bed. But HEPS isn't the sole Volgograd sight. There are many interesting places here. The most known tourist sight, the visit card of Volgograd is the Mamaev Hill. Being here You can see almost all 100 kilometers of city length. Due to its geographical position, Mamaev Hill has got a great importance during the Great Patriotic War (1941-1945). It became and still is the Main Height of Russia. Soviet people have built the huge stately memorial ensemble here. There are many other witnesses of the heroic past of Volgograd: the Alley of Heroes, the Perished Fighters Square, the Soldiers Field and others. The line of tank turrets is stretched out along all town not far from Volga bank. It marks the line, where fascist troops was stopped in 1943. It is very amazingly when You dive under the ground on a usual tram. Volgograders have built a few underground station for the high-speed tramway. The river tram need a quarter of an hour to get an island in the Volga. And You need the same time to walk across the river station. The Volga-Don navigable channel starts from Volgograd. There are planetarium, circus, some theatres, many museums in Volgograd. One of football matches of Euro-2004 qualifying round took a place in the "Rotor" stadium in Volgograd. Volgograd holds the longest - above 50 km - park in the world. Its avenues, squares, embankments are beautiful, Volgograd central districts are built in unique architecture style called the Stalin Empire. You can enjoy fountains, parks, attractions, water-pools and other Volgograd sights. If You visit Volgograd once You'll never forget it. You can read about the ancient history of Volgograd city on the Tsaritsyn font page. Also we plan to create the Stalingrad font and give You a short story about another period in Tsaritsyn-Stalingrad-Volgograd history.

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos. It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart. All that inspiration is present in «Envelove», a play on words that reflects the love of letters. An expressive free-and-easy typeface that follows no formal calligraphic model and lets itself go with the meaning of words, rhythm and sensations. «Envelove» successfully joins three different fonts, «Envelove Script»—free, spontaneous and unique of its kind—going together with «Envelove Caps»—an uppercase style that builds controlled but dynamic words thanks to its alternates and ligatures, and to its own true Small Caps set as well—and «Envelove Icons», ideal to decorate and bring to life any written message. «Envelove» encourages you to write as if you have a nib, ink and an envelope. It invites you to take part in other worlds like a magic cocktail, a summer night, a long-awaited reunion, a first dance, a dish cooked with your own hands. The fashion world, gourmet, stationery, scrapbooking and everyone where a Handmade or Handcrafted feel is craved for, save a special place for «Envelove». (The illustration series that are shown with «Envelove» were made by the incredible Argentine illustrator Eugenia Mello.)

Ramolina Script is an elegant calligraphy script font that comes with lovely alternates character. a mixture of from copperplate calligraphy with handlettering style. Designed to convey style elegance. Ramolina is attractive like a smooth, elegant, clean, feminine, sensual, glamorous, simple and highly legible typeface. Its classic style is perfect to be applied in any type of formal pieces such invitations, labels, certificate, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, badges etc. Ramolina Script features 400+ glyphs and 200+ alternative characters. including multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, that allows you to mix and match pairs of letters to fit your design. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail "megatype04@gmail.com" Thank you for your purchase & Happy Designing!

The font Geomatrix is an original design by Alex Kaczun. It is a dynamic stencil interpretation based on his extremely successful Contax Pro family of geometric sans typefaces. Geomatrix is a contemporary stencil typeface based on generous proportions and clean, crisp lines.The stencil treatment is balanced visually with the stem weight of the font which creates a uniformity and harmony within the design. Geomatrix makes for easy reading and is ideal for long lines of copy. It exudes a strong sense of sophistication for a true stencil design. However, this is no ordinary stencil typeface. That's putting it mildly. Geomatrix is a font on STEROIDS! This unique OpenType font incorporates hundreds of CAPITAL alternate letter forms and glyph substitutions, automatically and on the fly, within InDesign and other Open Type applications. To turn this feature on, just typeset ALL CAPS and go into InDesign's OpenType>Stylistic Sets and select Set 1 from the menu. Turn character kerning from Metrics to Optical, adjust tracking to minus 20-30, and start typing to create some visually interesting letter substitutions and unique word combinations. Geomatrix was specifically designed to take advantage of the OpenType format, allowing the Graphic Designer a unique tool to achieve the desired degree of possible visual typographic effects. And finally, the character sets in Geomatrix have been expanded to include old-style figures and all Eastern European accented glyphs. Strap in and hold on to your seats. A revolution in new font technologies has begun! GEOMATRIX IMPORTANT PLEASE READ HOW TO ACCESS "ALTERNATE" STYLISTIC "SET 1" LETTER FORMS: Geomatrix is a unique OpenType font which incorporates hundreds of CAPITAL alternate letter forms and glyph substitutions, automatically and on the fly, within InDesign and other OpenType applications. To turn this feature on, just typeset ALL CAPS and go into InDesign\'d5s OpenType>Stylistic Sets and select "Set 1" from the menu. Turn character kerning from Metrics to Optical, adjust tracking to minus 20-30, and start typing to create some visually interesting letter substitutions and unique word combinations. This feature "stylistic set 1" can be toggled "on" or "off" anytime, allowing you to go back and forth, or select only the letters that you want to change. Geomatrix was specifically designed to take advantage of the OpenType format, allowing the Graphic Designer a unique tool to achieve the desired degree of possible visual typographic effects. And finally, the character sets in Geomatrix have been expanded to include old-style figures and all Eastern European accented glyphs. Strap in and hold on to your seats. A revolution in new font technologies has begun!

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Mastadoni is a bold headliner/masthead typeface, with high vertical contrast in a Didone style. That's the starting point at least. There's much more to this font than another modern clone. It is a specialized (only one weight) typeface that comes in five optical grades. Use G1 at very large sizes and G5 at smaller sizes. The grades can be combined so that the thins of type set at different point sizes appear the same thickness - a very useful feature for magazine layouts. Optical grades could also be used in circumstances where a logo needs to be size-specific; the text on your bistro sign can afford to be more delicate than that on your coffee cups. This is a typeface with a big x-height, small cap-height and stubby ascenders and descenders, which contribute to an overall appearance somewhat different from must Didones, and make for some interesting layout possibilities in tight spaces. Mastadoni features a number of useful OpenType features. All fonts include standard ligatures and automatic fractions. In the discretionary ligature feature, you'll find the esoteric "percent off" glyph. Just type '%ff' with dlig engaged and there it is! Case-sensitive forms are available in all the fonts. The contextual alternates feature performs a subtle trick that resolves an optical illusion whereby two ascenders next to each other appear to be different heights. The Roman and Italic styles have a different group of stylistic sets as follows: Roman: SS01 substitutes a less decorative 4; SS02 is a different eszett; SS03 substitues the # with an attractive numero glyph; and SS04 gives an alternate K. Italic: SS01 and SS03 are the same as in the Romans; SS02 gives you more bulbous variants of v, w, and y letters; SS04 is a single storey g; SS05 changes C, G and S to non-ball-terminal varieties; and SS06 changes the swash versions of E, L, N and Q (when the swash feature is engaged). Speaking of the swash feature, the italic fonts feature swash capitals from A to Z, and swash variations for lower case h k m n v w and z. Lastly, the discretionary ligature feature in the italic fonts has vi, wi, KA and RA ligatures. Mastadoni is a typeface that would find itself immediately at home in glossy magazines, while offering a different aesthetic palette from the more standard choices of Didones.

Kisba Nova – A character actor that turns heads. Spiky serifs, soft ball terminals. All eyes on Kisba Nova: enter a typeface designed to arouse attention. Kisba Nova is that one guest who joins a party, and a murmur goes through the crowd. Kisba Nova is pure charisma. Opposites attract: Kisba Nova combines sharp wedge serifs and spiky spurs with round and soft ball terminals. Infuse this with a neoclassical stroke contrast and you get a thrilling typeface driven by visual extremes. Sure: Kisba Nova is a diva. But it’s a pro, after all. That’s why it comes in two optical sizes: Headline and Text. This makes sure it looks gorgeous in any situation. The Kisba Nova Headline subfamily is flaunts the trademark flamboyant looks and extravagant letters like f and k. They bring you all of the excitement of the showbiz in large applications—use it for sizes of 24 Pt. and more. The extraordinarily designed, thin and monolinear diacritics, punctuation marks, and symbols of Kisba Nova Headline add to this modern and elegant character. Kisba Nova Headline consists of seven weights from Thin to Black, offering plenty of possibilities to set headlines and titles. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. The Kisba Nova Text subfamily comes with decreased contrast, more generous letter proportions, and wider spacing. Instead of employing flashy thin and monolinear diacritics, punctuation marks, and symbols, Kisba Nova Text aims for a more even texture on the page. It retains the true, elegant Kisba DNA while allowing you to set legible copy in sizes between 9 and 18 Pt. Nothing will distract your reader–Kisba Nova Text aims to please. Kisba Nova Text consists of seven weights from Thin to Black, offering plenty of possibilities to set body copy and subheadlines. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. Kisba Nova celebrates the dual nature of softness and sharpness in a single typeface. It’s a character actor that turns heads.

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.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Neo design has been lightly modified. Three weights have been added (light, Medium, Extra Bold, including Italics) to the original Regular and Bold styles. ITC Ellipse Neo is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Neo offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: December 15, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. Le design de ITC Ellipse Neo a été légèrement modifié. Trois graisses ont été ajoutées (léger, moyen, extra gras, y compris les italiques) aux styles originaux Regular et Bold. ITC Ellipse Neo est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Neo offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Savigny began as an offshoot of Le Havre. Le Havre met my design objective of a geometric sans serif with a strong art deco touch. Le Havre’s primary inspiration came from the art deco titling of the 1930’s, and the lower case was just icing. The art of the 1930’s is of particular interest to me, and I love the art deco era and its art, and the simplicity of geometric shapes. I am mostly interested in designing display typefaces. In many ways Le Havre was the exact opposite of another popular insigne offering, Aviano Sans. Le Havre has very high ascenders, a lower case and is very condensed. Aviano Sans has no lowercase and extremely extended capitals. With the rise of webfonts I began to see Le Havre being used frequently online. It’s short x-height and very tall ascenders made it difficult to read in on screen text settings as it was intended as display type. With this observation, I felt that there is more room for a geometric sans in the insigne catalog. So I set about to design a new geometric sans using the successful skeleton of the Le Havre family. Although I planned to extend the Le Havre line, the new family is so drastically different I decided on a new name: Savigny. The face evolved and began to take on a few humanist touches. Designed from the very beginning as a webfont, the design is open and pleasing to the eye, with a tall x-height. To optimize it for onscreen settings, the spacing is generous. In addition, it includes extended and condensed members, making it insigne’s first superfamily. The family includes over 100 OpenType alternate characters. These include several style sets. Some are stemless, others are purely geometric, and in a nod to Savigny’s origins, Art Deco titling alternates. Please see the informative .pdf brochure to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Savigny is a great choice for a professional designer who wants a well rounded typeface family that is ready for the web.

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."

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

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."

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

Buntypes Bunaero™ combines classical and contemporary characteristics to a unique and distinctive font family with extravagant but also harmonious appearance. The characters are clear, open and sometimes bellied. Especially the caps have a very high waistline. Based on this, four main states with different moods have been composed: The original Bunaero™, the more conservative “Classic”, the elegant and curvy “Up” and the matching ”Italic”. All states offer weights from a considerably thin „Hair“ to a real fat „Heavy“, so the family consist of 34 Styles, all with rather narrow width and very good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure flawless appearance in all media. It supports at least 99 languages incl. Vietnamese and provides ligatures, alternative glyphs, special localized forms and even more enjoyable OpenType® features. This Pro version of Bunaero also includes a lot of features for sophisticated users: Lining figures for headline setting; Intermediate linings and oldstyle figures for text setting; Tabular versions of all figures; Superiors, inferiors, numerators, denominators and automated fractions; Language specialities like a capital Eszett for the german language and extra characters with a polish kreska instead an acute; And many more. Further information: Bunaero™ Pro Specimen PDF Bunaero™ Pro OpenType® Quickguide Feature Summary*: -4 Moods: Normal, Classic, Up and Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european and vietnamese languages -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, i, k, l, t, v, w, y, J, K, Q, R, and more -6 sets of figures: -Capital sized figures, oldstyle figures and intermediate figures, each in proportional and carefully adjusted tabular versions -Superiors, inferiors, numerators and denominators -Circled and negative circled figures -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -Extra characters with alternate minmalistic Cedille -Arrows -Automated feature for fractions as well as extended fraction character set -More than 1000 characters per font * Some features may only be available in OpenType®-savvy applications

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Helvetica Now Variable Helvetica Now 2.0 builds on the groundbreaking work of 2019’s Helvetica Now release—all of the clarity, simplicity, and neutrality of classic Helvetica with everything 21st-century designers need. In this 2021 release, we introduce Helvetica Now Variable and add condensed weights to the Helvetica Now static fonts. Helvetica Now 2.0 includes 96 fonts in three distinct optical sizes (Micro, Text, and Display), now with 48 new condensed weights. The Helvetica Now Variable fonts include even more: 144 instances—48 normal, 48 condensed, and 48 compressed. Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. Create infinite shades of expression, incredible typographic animations, and ultra-refined typography. Its single font file makes it easier to use and wickedly fast. Load one file and access a million fonts—in a fraction of the size of a traditional font family. More freedom. More expression. More power. More. Helvetica. Now. Each one of the Helvetica Now static fonts has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. The new Condensed weights put more type into smaller spaces—for intense emphasis, sophisticated contrast, or just everyday space-fitting. Helvetica Now 2.0 is, quite simply, more: more versatility; more power; and more creative possibilities. “For more than six decades, Helvetica has been the essential typeface,” says Monotype Type Director Charles Nix. “The release of Helvetica Now insures that it will be a typographic force for decades to come.”

Chennai’s market-tested type styles have taken new form once again. The geometric forms of Chennai and its derivant Madurai, both successful in web-based applications and logotypes, have now been adapted for the superfamily Madurai Slab, a potent, square slab serif ideal for headlines and posters. Under the surface of Madurai Slab’s straightforward geometric structure, the font’s exaggerated vertical serifs provide the face with an extra chunk that commands the reader’s attention and gives the font more impact in its heavier styles. The extra-fortified forms are anything but monotonous, though. The bolder structure of the slab is instead rational, diligently thought-out, with minimally contrasting strokes, making the sturdier look particularly legible in shorter textual content blocks. This child of Madurai contains a comprehensive range of nine weights--slender to black--and features condensed and extender selections for a complete set of fifty-four fonts. All users of the Madurai Slab collection can access numerous OpenType alternates. Madurai Slab is furnished for experienced typographers, together with alternates, compact caps and many alts like “normalized” capitals and lowercase letters that come with stems. The typeface also contains a range of numeral sets, together with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs including Quark or the Adobe suite allow quick changes to ligatures and alternates. Previews of these options can be found in the .pdf brochure. Madurai Slab also features the glyphs to enable all Central, Eastern and Western European languages. In all, Madurai Slab supports around forty languages that utilize the prolonged Latin script, making it an excellent option for multi-lingual publications and packaging. This richness of options makes this the best slab serif family for websites as well as for print, motion graphics, logos, t-shirts and the like. Madurai Slab is a great choice when looking for a Neo-Grotesque slab serif font. In the hands of a learned designer, this new slab offers the potential for beautiful and well-blended layouts. With its widths adjusting to compact and extended content blocks, this typeface is perfect for the headings, captions and other brief, immediate messages that you need to drive your message home.

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

Linotype Zapf Essentials is the modernized version of Zapf Dingbats and was also designed by Hermann Zapf himself. Over 372 characters and symbols are included within six fonts and make life a little more communicative, a little more informative, and a lot more interesting. The fonts contain symbols for both professional and everyday uses. With their markers, ornaments and arrows they are informative as well as versatile, timeless and lively. An interesting note to the story of Zapf Essentials: in 1977, Hermann Zapf created about 1000 sketches of signs and symbols. ITC chose those which became known around the world as Zapf Dingbats. For a typesetter, dingbats are the characters in the corner of the type box which can be used for just about anything. The last decade has seen the appearance of new symbols for e-mail, fax, mobile phones and other developments. These are now part of Linotype Zapf Essentials, just as they are now a part of everyday life. For a quick overview of the different Linotype Essentials variations, see the keyboard layout PDF in the Gallery section. It shows the keyboard layout of each font. A helpful hint from Hermann Zapf: Linotype Zapf Essentials should be used sparingly so that the characters retain their emphasis.

Soul Adventures Cyrillic Script adds hand look style to all your design projects: logos, signatures, labels, packaging design, and blog headlines. Also, it will look great in mugs, cards, gorgeous typographic designs, wedding stationery, and much more. An additional font Soul Adventures Symbols Font can help you to make a lot of pretty designs and logos. Soul Adventures script includes a full set of uppercase 2 sets of lowercase letters, numerals, a large range of punctuation, and 70 ligatures, giving a realistic hand-lettered style. The Cyrillic part of the font contains the uppercase letters and lowercase letters and 20 ligatures, giving realistic hand-lettered style. Soul Adventures Symbols is a font with over 36 unique, hand-drawn elements and swashes that can help to make your design more original. A different symbol is assigned to every uppercase or lowercase standard character plus numbers 0-9 so you do not need graphics software just simply type the letter you need. Multilingual Support for 32 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages.

Very close thematically and in style to the rest of our “whimbats” (the Absurdies, Bizarries, Illustries, Genteta and Whimsies series), the Ombres contain a number of peculiar silhouettes and illustrations of people that range from cute to scary, with everything in between. Ombres offers152 pictures in 3 files. These imaginary characters were produced with different techniques: quick pencil sketches, ink, watercolour, though once digitized and simplified to bring them into the font files there is little apparent difference. The silhouettes, rather than flat shadows are more dimensional in their look, because they have been digitized retaining the original brushwork or pencil strokes of their source drawings. Some of them remind of the venerable tradition of metal stock cuts from vintage type foundries. The digitized results are quite different, but the energetic nature of the subjects has been mantained. Their vectorial file format means you can use them at any size with no loss of quality. Every Ombres dingbat offers ready-made images for a variety of creative projects. They can be used as they come or easily customized in any graphics program. At small sizes they are ideal spot illustrations with a whimsical touch; at large sizes they can bring a whole page, a spread or even a big poster to live.

Meet Aeroko, a slick variable typeface that evokes grit and speed, a dynamic play, a future–present competitive edge that evokes motorsport and all progressive brand design. This is a robust type system that creates memorable brand headlines. Powered by four display weights and three widths. Turbo-charged by a two-axes variable font. High performance brands can expect Aeroko to out-pace in every graphic condition. Aeroko is bold and assertive, it moves fast in headlines, it flexes when and where you need it. The forms are boxed and solid from Condensed to Wide, and they provide a distinct contrast when paired with rounder text fonts. Aeroko’s secondary power unit is harnessed from the ever adaptable variable font format. Variable font technology enables vast levels of typographic scale and expression, furthermore it allows Aeroko to react instantly in any digital space to maximize results. Aeroko evokes confidence, this is a typeface that actively encourages you to be courageous and daring with type in your own way. Brands demand distinct and robust typography, much in the same way that drivers demand pace. Aeroko meets these demands with ease, delivering assurance and weight across a valiant aesthetic. Aeroko is designed by Krista Radoeva and the Monotype Studio.

Introducing "Layla," a stunning new display serif font that combines the luxury serif of the display cover with an elegant typeface style. With a lot of alternates character, you have a plethora of options to create unique and striking display lettering. Layla comes with open type features, including a vast selection of alternates and end swashes, allowing you to create stunning lettering designs. Additionally, Layla supports multi-language use, making it ideal for global designs. Layla is best used for various purposes, including Logotype, heading, cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards, and many more. Its versatility makes it a valuable addition to any designer's toolkit. In the zip package, you will receive Layla in otf, ttf, and woff formats, with features that include uppercase and lowercase letters, opentype alternates and ligatures, numbers, punctuation, symbols, and multilanguage support. To access Layla's alternate glyphs, you will need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. Overall, Layla is an excellent font choice for anyone looking to add a touch of luxury and elegance to their designs. Its stunning design and high-quality features make it an ideal font for all your design needs, including print and digital media.

Pinkerton Introducing Pinkerton font. It was inspired from a cartoon that i saw on television, and it was originally crafted by hand to add natural handmade feeling than i make it clean with pentool. We improvise it a little bit to make a playful feel, this font is bold so and it can look strong if you use it for branding or even title for your poster design with playful decorative style. Opentype features Pinkerton Font is very good looking in playful decorative logotype, labels, t-shirt prints, product packaging, invitations, advertising and others. If you looking for a playful decorative font, than this item is a good choice for you because this font have a strong playful feel. This fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Introducing Galdien – Modern Sans Serif Font A Contemporary Typeface Galdien – Modern Sans Serif Font is, without a doubt, a testament to contemporary design simplicity and elegance. It seamlessly blends modernity with readability. Clean and Versatile Furthermore, Galdien’s clean lines and uncluttered appearance make it an extraordinarily versatile choice for a wide range of design applications. Its simplicity ensures it doesn’t overpower your message, making it a font suitable for various projects. Readability at its Core At its core, Galdien prioritizes readability. Each character is thoughtfully crafted to ensure clarity in both print and digital formats. This font’s legibility is especially essential for conveying your message effectively and effortlessly. Ideal for Modern Branding Additionally, Galdien is perfectly suited for modern branding initiatives. Its clean and sleek aesthetic aligns seamlessly with contemporary brand identities, offering a cohesive and professional look that resonates with today’s audience. In Conclusion Galdien – Modern Sans Serif Font is your unwavering companion for modern design endeavors. Its simplicity, versatility, and readability, combined with its adaptability to various media, make it an excellent choice for diverse projects. With Galdien, your message is not only communicated with clarity and style but also imbued with a contemporary touch that captivates your audience and leaves a lasting impression.

DIGOT 03 is an innovative two-font family that blends minimalism and geometric precision to create a visually striking and modern design. These fonts are perfect for those seeking a clean and contemporary look for their projects. --- Usage Recommendations DIGOT 03 is a font that thrives in environments where simplicity and clarity are valued. It works exceptionally well in both digital and print formats. Consider using DIGOT 03 in the following situations: Web Design: DIGOT 03 can add a touch of modernity to website designs, providing a clean and contemporary experience for users. Poster Design: Whether creating event posters or advertising material, DIGOT's bold and eye-catching letterforms make it a perfect choice for grabbing attention. Logo Design: This font, despite its very experimental approach, can help establish a strong and memorable brand identity. Its simplicity allows the logo to be easily recognizable and versatile across various marketing channels. Iconography: As DIGOT 03 is built upon geometric principles, it excels in creating visually appealing icons and symbols that follow the same minimalist style. --- DIGOT 03 is the perfect font for designers and creatives who appreciate simplicity and have a keen eye for detail. With its unique minimalist geometric style, DIGOT offers endless possibilities for creating clean and impactful designs.

Introducing Magilio - A Chic Serif Fonts Beautiful and soft fonts in a contemporary style that can make your design projects look modern, elegant and luxurious. Made with many alternative characters to make it easier for you to do various design projects and give you fun while typing. You can apply them to designs like social media posts, logos, merchandise, book covers, posters, video content thumbnails, quotes, landing pages, wedding invitations and much more which you can make with this great item for any design :) Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Opentype Features & PUA Encoded Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Note: Use a program that supports the Opentype features and the glyph panel is available, so you can see the various alternative characters available. Examples of programs such as Adobe Illustrator, Corel Draw or Affinity Designer.