I’m happy to present you the Bohemian initials font family. Regular and Colored styles (Uppercase & Numbers) based on Codex Gigas originated in medieval Bohemia. The manuscript has been dated 1230. The elaborate initials are at the beginning of the main texts and their principal divisions. The painter was aiming to achieve a plastic depiction of the trailing vines of the initials, and he painted with solid colours. He used only four of the primary colours cinnabar red, blue, green and yellow, brightly toned, as well as white accents and contours. The trailing vines of the initial letters are painted in a decorative, advanced Romanesque style, already bordering on naturalism. The plant taken as the starting point is the acanthus, a thistle-like plant which grows wild in the Mediterranean countries. The decoration of the Devil’s Bible is not the work of an amateur. Scholars have concurred: it is book illuminations created in Northeast France and Southern England in the so-called Channel style which provided the starting point for the coiled trailing-vine shapes in the initials of the Devil’s Bible. --- You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! --- Please feel free to request any help you need: kaer.pro@gmail.com Thank you!

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Kufiz which gets influence from the engravings of the Ottoman art and Rumi ornamentations, is an adaptation of the refinement of the period to the modern typography.

The font DXOldStandardGroteskNo2 was developed on the basis of the Grotesk Condensed font, which was issued by Russian type foundry from the beginning of the 20th century.

Sursum, inspired by the Roman monumental letterform, was designed to provide the possibility to play with the 58 OpenType ligatures and the 25 alternates letters. The Sursum family includes 3 weights, all with the same OpenType features.

Introducing the September Spirit Font Duo! A hyper-realistic handwritten font duo, which utilises a large range of ligatures (uniquely designed letter combinations), and alternate characters—all taken from real handwritten words—to achieve an incredibly natural handwritten style. As well as the fast-flowing handwriting font, September Spirit also include an all-caps version, great for combining with the regular font for adding emphasis to words, or even as it's own standalone font. Not only that, a bonus font of extra circles, underlines & arrows is included to add even more emphasis and an additional hand-crafted aesthetic. The September Spirit family includes; September Spirit • A fast-flowing handwritten font containing upper & lowercase characters, numerals, and a large range of punctuation. September Spirit Alt • This is a second version of September Spirit, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. September Spirit All Caps • An uppercase-only font, perfect for pairing with the regular September Spirit fonts to add emphasis to words or phrases. September Spirit Extras • A bonus font containing 19 hand-drawn arrows, cirlces and underlines. Ideal for adding to your September Spirit text for extra emphasis. Language Support • September Spirit supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Introducing: World Pressure A rustic, dapper handwritten font with a personal charm. With quick dry strokes and a signature style, World Pressure is perfect for branding projects, homeware designs, product packaging - or simply as a stylish text overlay to any background image. World Pressure includes 4 font styles and additional swashes: World Pressure Regular handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. World Pressure Alternate This is a second version of World Pressure, with a completely new set of both lower and uppercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. World Pressure Slant This is a third version of World Pressure, with a completely new set of both lower and uppercase characters in slant version. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. World Pressure Alternate This is a forth version of World Pressure, with a completely new set of both lower and uppercase characters in slant version. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. World Pressure Swashes A set of 26 hand-drawn swashes, the perfect finishing touch to underline your Northwell text. Simply install this as a separate font, select it from your font menu and type any A-Z Uppercase and Lowercase also Number 0-9 character to create a swash. Fonts are provided in OTF formats. Fonts include multilingual support. Ligatures are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with opentype capability or a glyphs panel, e.g. Photoshop/Illustrator.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina's story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn't even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born.

This type face fills one of the gaps between the world of Roman alphabets and that of linear alphabets. The first to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptor's use, as a type face for three-dimensional inscriptions. Their width proportions reflect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions. The type face was later complemented with a set of lower-case letters and elaborated into further designs. Its clear, concise letter forms end with small serifs which not only make the type face more refined, but above all anchor the individual letter signs visually to the horizontal of the text line. The austere construction of the majority of the letters is balanced by the more exuberant, humanizing forms of the most frequently used letters "a"; "e". (The three variants of the lower-case "e" enable to create rhythmically differentiated texts.) The letters in which a straight stroke is connected with an arch are designed in two ways. That means that the letters "n", "h","m" and the group of letters "b","d","p","q" are conceived in a different way. Thus an interesting tension is created in the structure of the text, which, however, does not endanger legibility. The economizing, slightly narrowed design of this type face predetermines its use for the setting of usual texts. In larger sizes, however, it produces a rather serious, even solemn, impression.

Carta Marina is based on the titling found on the famous map drawn by Olaus Magnus in 1539. The map of northern Europe took 12 years to complete, and the total size is a huge 1.7 meters tall by 1.25 meters wide. More information about the map, as well as the high resolution reference document used to create the typeface and illustration set can be found at the James Ford Bell Library, University of Minnesota. The titling is slightly aged, very sturdy and elegant. Carta Marina includes a full set of OpenType alternates for every character in the English alphabet, oldstyle figures, historical forms, small caps and 64 discretionary ligatures. These ligatures are used to alter the appearance of the type so that the printing appears realistic and without any duplicate letters to detract from the antique appearance. The Carta Marina family also includes some of the unique illustrations that gave the map its character. It includes depictions of fanciful sea creatures, land animals and some of the inhabitants of the lands pictured.

The design of the Newspoint typeface is based on the tradition of the American sans serif faces of the last century. This form expression was greatly influenced by the News Gothic type which was created by Morris Fuller Benton in 1908, and has, once again, become very popular. When the development of sans serif types such as Futura and Kabel by Renner and Koch began in 1925, the design of American sans serif types receded somewhat into the background. In the 1950’s, however, they experienced a renaissance which continues to this day. Thanks to its clean design and the relatively large x-height, the Newspoint is well suited for informative texts in newspapers, magazines, and brochures. In packaging design, as well, the Newspoint can display its strength in small print. Newspoint was developed as a customer-specific variation of the News Gothic. In contrast to the News Gothic, however, the face appears to be softer and more appealing thanks to the changed interpunctions. If so desired, the alternative characters give the typeface expanded individuality and a richness of design options.

The rasterized square (clear, therefore 4 as part of the font name) was the constructive basis. The intention was to put all characters within this grid and produce a highly structured, yet lively, resting in itself, display font. Relaxed but exciting, just. An absolutely noteworthy detail are the classical construction principles (based on a typography book from the 50's for poster designers), the so-called optical weighting, derived and slightly exaggerated character elements: The characters are not purely symmetrical and the curve shapes do not close justified with the surrounding square. Loops and tongues slightly hang over; the upper bows are slightly less protruding than lower ones, etc. The kerning is tuned to fit these design details: the white space between the characters match the same filling space.

Structurally inspired by Modern font, Abula is distinctive for its two options: Original Slab Serif and Organic Slab Serif. The Latter is special for it illustrates the designer’s attempt to genetically modify the font. Beginning with the original structure, a humanist twist is incorporated into the serif adding the presence of curvy lines that shatter the solidity of the geometric form of the font. Another distinctive feature of Abula is the Ball Terminal at the upper curve of the letters such as ‘a, c, r and s.’ The results of Typesketchbook’s investigation give birth to a unique pair of the fonts, Original Slab Serif and Organic Slab Serif, that while stemming from the same structure, offer a different visual vibe and feel. Articles : Art4d Magazine(Thailand) Issue 207

Tony Wenman designed the display typeface Bottleneck in the early 1970s and its figures reflect the spirit of the times. Its distinguishing characteristic is the extreme heaviness of the serifs in the lower third of the characters, a trait which the viewer could associate with the plateau shoes of the 1970s. Bottleneck is a carefree, playful typeface which can be found even today on entertainment fliers and retro advertisements. When used sparingly in headlines and slogans, it is a real eye-catcher. Similar typefaces are Julia Script, by David Harris, and Candice, by Alan Meeks.

Zaire SF is a distinctive, elegant, ethnic style font, inspired by the ancient masking traditions of the tribes indigenous to Zaire in Central Africa. The font captures the magic of the mask, representing the dance, the ceremony, the secret society. It evokes the very heart of Africa. Zaire is best used as a display font and is also effective for headings and posters. The tall, slim silhouette epitomizes the elegance of contemporary African design. It includes a full character set: characters for English, French, Italian, German, and Portuguese.

Nipon has an affiliation with the Far East. The first character I designed for this alphabet was the capital P. The stepped thin lines are linking to the Japanese characters and the circle shape is a classic Japanese element which means literally: the origin of the Sun, Nippon. So this is where the name comes from, I skipped one P in the name, so my Nipon gets his own identity. Next to this oriental look it also carries a light resemblance with a juwel box. Precious and elegant shapes for the gentle touch in writing.

Frygia is inspired by the astonishing mythology along with a new method and approach of type design. As an example, the construction of the lowercase g; the line structure which is slightly curved helps to aid the optical illusion and the integration of Industrial San Serif style making Frygia extremely compatible and ready for every usage on the layout. Frygia Family consisted of 20 styles and 10 weights, ranging from the thinnest Hairline to the boldest Black and a Semi Rounded corner to suit the concept of the typeface.

Foundry Old Style was the first typeface to be released by The Foundry. Inspired by the incunabula typefaces of Nicolas Jensen, the letterforms were first created as calligraphy, with the aim of retaining the structure and free form of the pen stroke in the final drawing development. The resulting face is a contemporary translation that retains the classical tradition of the transitional roman style. Originally conceived as a text face, with a small weight range for good book work, Foundry Old Style is a versatile design that contrasts and compliments Foundry Sans.

By the late 1920s, lettering and design had already begun to feel the influences of what would become the Art Deco Movement. The sheet music for the 1927 song "Without You Sweetheart" had its title hand lettered in a block style letter with rounded corners – with the exception of the 'S' and 'R' in "Sweetheart"; reflecting design elements of both styles. For consistency, those letters were changed to fit the rest of the design, and the result is the digital font College Nouveau JNL, available in both regular and oblique versions.

An online reproduction of a trade ad circa the 1950s for comedian-actor Paul Gilbert featured his name in the hand-drawn lettering that serves as the basis for Stand Up JNL. While the style of the typeface is derivative of the Latin Spur faces used popularly since the 1800s, the playful – almost awkward angles create a casual design that evokes good times. It should be noted that the extremes of such angles might appear ill-spaced unless kerning is turned on within the application where the typeface will be used.

This is our first font, based on Peter's own personal way of writing uncials, The rounded letters of the fourth to eighth centuries. The characters in the caps position are more closely related to the classical Roman forms, and the lowercase position has letters that are the more rounded, medieval forms, at the same size, so they can be freely mixed, for a hand lettered appearance. This typeface is currently used for the titles in the TNT Television show "the Librarians". It was originally designed in 1998, and is now available in Open Type Format.

Glotona's Black & White are four modernist typographies written by hand and combinable with each other by layers to create multi-colored typographic headlines. Glotona is my tribute to Bodoni fonts, revolutionary fonts when they appeared in the S XVIII and still in force today. The great contrast between antlers, give foot to the design maintaining the elegance of the modernist typefaces, the manual writing and the roundness of the serif and antlers bring freshness and empathy, the careful configuration of the kerning and the proportions give maximum readability to these fonts.

astroluxtype’s Spacepod is a headline display font set. The font contains uppercase and lowercase letterforms with a minimum glyph set. The style suggests weird sci fi from the 1970’s or the far future... you decide? Is this the font for your sci fi western book cover title with a nod to The Matrix in the story or a poster for the movie remake of Westworld? Wherever your ship takes you in the universe Spacepod should be the letterforms on the side of your craft that states, “No rides for damn dirty apes!”

Currently, the STARSsoft NIKA font family is represented by two fonts - Bold & Bold Italic. The letters and numbers in the font are shown in such a way that there are no holes in the letters and the entire outline of the font consists of one closed line. The font has both a standard Latin set and an extended one. The font also has Cyrillic support. In addition to the Russian Cyrillic alphabet, the font has support for Ukrainian and Kazakh Cyrillic. In addition to standard character sets, the font has many additional letters with diacritics.

The extravagant Odin was designed by Bob Newman in 1972. Its figures display constructed basic forms and when set into words, the typeface builds closely set lines. The strong serifs catch the reader's eye and draws it horizontally across the page. The forms of the capital letters are particularly distinctive. In the upper third, the stroke beginnings seem to form a roof over the body of the letter, fragmented by a fine white line that lends them independence and dominance. Odin is best used for headlines in display point sizes.

Greenbriar AEF bears resemblance to blackletter, crisply drawn and creating a hypnotic rhythm through the interplay of stroke and counter, wieght and width. The Greenbriar numbering scheme is based on the weight and width axes of a multiple master from which the instances are generated. The first number in any of the series (1 through 5) relates to the width The second two numbers (20 through 80, in 20-unit increments) relates to the weight within the width series. Mix and match the series for a hypnotic typographic extravanganza!

The inspiration for this font made its first appearance in the 1897 American Type Founders specimen book, under the name "Lithotint". As the name suggests, the original was tinted gray (diagonal lines formed the body); this version is solid and spooky, too. The font contains a few ghostly graphics, including ghosts at the bracket positions, a haunted house at the backslash position, and a scary backdrop at the ASCII tilde and ASCII circumflex positions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A meeting of Byzantine and Art Deco forms, Aphasia began as a series of handwritten captions to accompany drawings in the early 1990s. The drawings were abandoned to allow the lettering to become the real composition. Playfully set in blocks of verse with each line shaped through free-association, the only visual rule was that all the lines of capitals be of equal length. The challenge of the game required extensive abbreviations, ligatures, small caps, and superiors. With the advent of Letraset’s FontStudio program, the project moved into the typographic realm.

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

This unusual penscript is based on letterforms discovered in the classic Zanerian Manual of Alphabets and Engrossing. The economy and the sinuous quality of the pen strokes, combined with the severe backslant, suggest--without mimicking--the grace and beauty of fine Arabic calligraphy. The Opentype, Truetype and Windows Postscript versions of this font contain both the Windows 1252/ANSI character set and the 1250/Central European character set.

Vintage sheet music for the song "Just Once for All Time" (from the United Artists release "Congress Dances") provided the bold sans that served as the model for Dance Number JNL. This 1932 film was the English language version of the German comedy "Der Kongrefl tanzt" The movie's plot is based around the Congress of Vienna. There, an Austrian commoner is mistakenly thought to be the Tsar of Russia.

Smooch is a brushy hand written script full of speedy personality. The Pro version comes complete with all of the forms of the Regular and Alternate versions as well as the titling Sans set. Use the Contextual alternates setting to create clean connectors while keeping the integrity of the speed and flow. Multiple language support is available for all the fonts, with Cyrillic forms available in the Sans versions.

HK Kelie is a light to medium-contrast typeface with swashy, medium bracketed serifs, and terminals in the appropriate places, as well as bracketed junctions in various letterforms. The main feature of the typeface is the disconnection between the bowls and the stems. However, the bowl is very close to the stem, creating the illusion of connection. HK Kelie is calm, attractive, and legible — but above all, it is sophisticated.

The basic design style for Nouveau Days JNL was inspired by the hand lettering on the sheet music cover for "Linger Longer Letty". This tongue-twisting song title comes from the 1919 musical comedy of the same name. Some of the characters originally had tiny spur serifs, but they were omitted in the digital version to keep the overall design consistent. The font is available in both regular and oblique versions.

Caesario is Mike Scarpitti's newest font, based on the famous inscriptory lettering on the Trajan column in Rome. After searching through many sources, he turned to the drawings of the original column lettering made by Frederic Goudy in 1936. The superior quality of these drawings combined with the Mike's faithful reproduction of the characters forms make Caesario the best available representation of the style of this famous incription.

Cirth was invented by John Ronald Reuel Tolkien for use in his novels. It is modelled on the Anglo-Saxon Runic alphabet, and is used to write the language of the Dwarves (Khuzdul) in The Hobbit and The Lord of the Rings in inscriptions in wood and stone. It is also used as a alternative alphabet for English. The fonts here are both the hobbit version and the version for English.

Silk Serif is a high-contrast typeface with thin, pointy, heavily bracketed serifs, and ball terminals in the appropriate places, as well as bracketed junctions in various letterforms. The main feature of the typeface is the disconnection between the bowls and the stems. However, the bowl is very close to the stem, creating the illusion of connection. Silk is delicate and legible — but above all, it is sophisticated.

The design for the font "Viktor" is based on original woodcut letters I purchased on a Flea Market. I handprinted the letters and converted the result into a font. The font preserves the rough and handmade character of the printed letters. To make the font more useful especially for packaging I designed in addition to the original font an outline version, a shadowed version and a striped font.

The typeface Ruano was inspired from “Lettera cancelleresca formata” by the Vatican calligrapher Ferdinando Ruano, carved and cast in 1926 by Nebiolo of Turin on the advice of Raffaello Bertieri who designed the capital letters and numbers, missing in the original. The difficulty of the design of this chancery font lies in its original vertical layout, bending the calligraphic harmonies to the Gothic style, thus distinguishing it from contemporary cursive alphabets.