This family is inspired from the set of two styles, Roman normal and Italic, and the ornaments used by an unknown printer working around East Switzerland, circa 1750's. It is a Dutch style font, slightly bolder than usual Fournier's or Caslon's Roman fonts, with some emphasized serifs and finals parts and special letters as capital "U" for example. A set of initials, fleurons, ornaments and frame elements is joined to the family as a supplement. The two styles, Normal and Italic, are containing standard ligatures, a few alternative characters and titlings (who are more preferable than enlarged capitals). They are "small eye" or "Small x-eight" fonts. The standard characters set is completed with accented or specific characters for Western (Including Celtic) and Central Europe, Baltic, Eastern Europe and Turkish.

Poeta Color is an ornamental font for making patterns and decorating text. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or thematic seasonal and holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a basic straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Below is some helpful technical information. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns. All fonts are vector-based, OpenType, and fully scalable. Six of the fonts have different color or grey combinations. One of the fonts (solid) is a standard font. The font previews on this website will only display the font in black. See the slides to get an idea of the colors. Be assured that the colors are present in the files and will appear when loaded on the computer. The colors that are in each font: Primary: red, yellow, blue Secondary: orange, green, purple Tertiary: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet Diverse: many different warm and cool colors Grey: three different greys from light to dark Gradient: a greyscale gradient Solid: standard font and can be colored normally Software that supports color SVG fonts: Photoshop, since 2017 llustrator, since 2018 InDesign, since 2019 QuarkXPress, since 2018 Pixelmator Sketch

This is a neat lightface font from the 1880s, issued by MacKellar, Smiths & Jordan of Philadelphia. Just a hint of Victorian design on a few letters. All in all a clean, easy to use font.

Subzoete is a gathering of icons used in a cultural agenda for the city of Montreal in Quebec. They are unique and original. Great for simple indications such as tickets, free admission, outdoor events, etc.

This unique set of letters designed in the style of serif. It's cutting edge and expanded looks carefully designed to feel like classic lettering. It's easy to read and cover a small area to utilize.

Journal Sans Old School is a new, modernized digital version of the widely popular Journal Sans. The new typeface preserves the character of the geometric sans from the famous “Science and Life” magazine of the 1960s. The weight of the basic styles corresponds to the Journal Sans regular and bold from the Soviet linotype catalogs. Also, the original vertical proportions and character forms match the original. Cyrillic Alternates, Greek language support expand the range of font’s usage. Journal Sans Old School was designed by Natalia Vasilyeva and released by Paratype in 2019.

Alexander Lettering is a handwriting font that captures the wild and choppy essence of a sloppy signature. With its childish and fast-paced strokes, this font gives off a sense of spontaneity, making it perfect for projects that require a less formal and more playful touch. This typeface was created by exploring the unpolished side of handwriting, drawing inspiration from the hurried notes and scribbles that often accompany our everyday lives. Alexander Lettering embraces the imperfections of the human touch, giving your designs an authentic and relatable feel. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Colotus is a striking sans-serif display font that immediately captures the eye. The characters in Colotus is made in bold and solid square forms, imparting a sense of reliability and authority. However, what truly sets Colotus apart is its subtle brush detail that adds a touch of handcrafted charm. This brush detail infuses the font with a sense of artistry, creating a captivating blend of contemporary design and organic creativity. In addition, you can also enjoy the features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Colotus fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Epilogus - Serif font family - 18 Styles - Multilingual supports Epilogus is an elegant serif font family with different alternative character designs. This font provides flexibility in all your projects with the alternatives it offers you with its multiple language options, 18 styles and rich glyph options. You will have the opportunity to enrich the content of your projects with alternative characters. According to the purpose of use in typographic compositions that you will create with the aesthetic structure of alternative characters; You can enrich your titles in books or magazines, and your logos in branding. You can benefit from the elegant structure of standard characters in your plain texts. Especially for editorials, magazines, books, branding, packaging, logo design, web design, headlines, movie titles etc. If you're looking for a font with stylistic alternatives, Epilogus serif font might meet your needs. With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Wish to make a real impact on your customers and clients? With the right font, you’ll leave a strong impression every time. Introducing Raldrich - A Handcrafted Font. From product labels and printed materials to web design and social media posts, this font simply makes a difference. Regardless of where you use it, Raldrich will turn your design from good to outstanding. Ready for that next step? What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office Keynote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom-created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Boom. You asked for more, um, well just ‘more’—more swashes, more options, more weights, more of everything. I cannot give you more weights. The design just won’t allow it and anything else would be a compromise or a bastardization of the exemplars just to make money that I am unwilling to do. But, I did give you an overly indulgent, 90% cacao bar and espresso, Lust Script Fine. The ending strokes on these glyphs will literally draw blood. Enjoy it as much as I have. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Kayshi is a stylish, clean, and modern display sans font, with a very different style from the others. Kayshi is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats – and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font and have fun! Thank You.

The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907. This sans serif family features one of the first multi width/weight type 'systems' anticipating the Univers font system by 50 years. This set of 7 fonts was designed to aid in press room efficiency and with its incremental variation in widths gave poster printers unprecedented flexibility in fitting copy while using consistently harmonious fonts. This HWT release is the first ever digital version of these fonts. Each font contains 600 glyphs including Greek and Cyrillic character sets as well as alternate characters which are based on the actual special character production patterns from the Hamilton Wood Type Museum collection. HWT Unit Gothic system features: •HWT Unit Gothic 716 - 50% wider •HWT Unit Gothic 717 - 25% wider •HWT Unit Gothic 718 - (Standard width which others are based on) •HWT Unit Gothic 719 - 25% narrower •HWT Unit Gothic 720 - 50% narrower •HWT Unit Gothic 721 - 62.5% narrower •HWT Unit Gothic 722 - 75% narrower

We are happy to introduce Prague Metronome, inspired by the city of Prague and the metronome in the heart of this city. Prague Metronome, a font made manually by hand that we set in such a way that everything is connected in a neat rhythm, just like metronome used by musicians to set the tempo. This font has alternate stylistic for Uppercase and Lowercase, we also complement lowercase with alternate swash and titling. No half-hearted, we added 142 ligature to get the impression of natural handwriting. Comes with two thicknesses namely hairline and monoline as well as a unique shape appearance that will attract interest when used as your brand identity. This font can be used for brands, quotes, headers, websites, and other broader graphic designs. Prague with its metronome is a symbol for everything, beauty, history and personal impression that cannot be described. If European cities were a necklace, Prague would be a diamond among the pearls. Enjoy our font. thanks.

Calligraphic Griffo comes from my personal interpretation of Francesco Griffo works. He was one Italian's type founder, punch cutter and type designer and the first who drawn and realize the typographical's punch of the italics around the 1500. His dedication to works and incredible perfection make me fall in love with his typefaces. Here my font: a readable and classical Serif with well-proportioned letterforms, a lot of ligatures combination and initial Swash Letters. Hope you like it, enjoy!

The publication of this more mature design is the result of a previous 1-style project which was developed in 2010. Rita, the new design, has increased from one single style to a full font family, with a strong personality, ideal for short text for high impact designs. Rita is a slab serif typeface that offers a wide range of weights and widths—from a thin, ultra condensed font to a heavy variant for poster design. Its variety of weights and widths allows users to create a number of different compositions such as titles and text for impact or high impact graphics. Rita comes in 10 styles and includes a set of 400 characters that support over 200 languages. Rita was designed by Daniel Hernández with the collaboration of Rodrigo Fuenzalida.

The first thought that crosses a type designer’s mind upon seeing a slab serif is: I wonder what it would look if it was serifless. And so, after building Henderson Slab , I followed my instincts and gave it a sans serif companion. Henderson Sans comes in seven weights plus italics, each of which casting an eye on the crafty lettering origins of what is now the ubiquitous mode of corporate communication. This sans serif is a glyph-for-glyph match for Henderson Slab , inheriting pretty much all of its features and quirks, like the wealth of alternates and swashed variants — simple, endearing or otherwise. Henderson Sans is a family of seven weights plus italics, all full of open features and extended Latin language support. (Basic version do not include alternates, swashes, etc).

Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.

You may recognize the looks of Retroxoid - if not, then let me help you out: Retroxoid is actually a font I made back in 2007. I ran prints of the font, through a very bad copymachine, used a wet cloth to make the print look worn, scanned the prints and voila! Retrozoid, my very first Open Type font, was born! Now in 2010, Retroxoid has risen from the past, and is ready to burst your designs with clean, round and futuristic shapes!

An image spotted on the internet of a brass shipping stencil for the Royal Quality Brand (for the John H. Fitch Company of Youngstown, Ohio – a coffee and spice merchant). The lettering style for “Royal Quality” was a hand-cut, condensed, slightly flared sans serif with various character flourishes, giving the letters a stylish, somewhat regal look. Expanding on this idea, a full character set was developed and redrawn digitally as Royal Stencil JNL, which is available in both regular and oblique versions.

I have a lot of options to choose from, and it's hard to decide. For example, if I use "Thin" for the body text, I might make the title slightly larger and use "ExLight," and for the headings, I could use "Regular" or something similar. I could also stick to one font weight, like "Light," and differentiate the text using various sizes. This font is designed for enjoying the process of "indecisiveness," so please feel free to wander and deliberate extensively.

A thin Roman typeface with slab serifs shown in various editions of the American Type Founders’ Specimen Book as either Lining Antique or Lining Central Antique was the model for Specimen Book JNL which is available in both regular and oblique versions. This is the 1700th design released by Jeff Levine Fonts since its inception in January, 2006 and was named Specimen Book JNL to celebrate the era when metal type and letterpress were the modern technology of their time.

WOLFSZN Anniversary! WOLFSZN is the tenth Font of André Toet. The inspiration for this capital alphabet came from the trails of an agricultural machine (think tractor) leaves in the soil after working the land. But it’s not meant to be ‘like a heavy workload’, in fact to us it seems like a very useful Font for headings, logotypes, advertising or films. We hope WOLFSZN will be happily and wisely used by my dear colleagues. Concept/Art Direction/Design: André Toet © 2017

Edits and Credits JNL is a cheerful sans serif typeface modeled from ceramic letters in a movie titling set from the late 40s or early 1950s. In the original kit, letters would be lined up accordingly against a contrasting background and photographed for home or professional movie and slide titles. Note: The cap height is slightly smaller than normal for the respective point size. This will give the effect of wider line spacing - similar to that of home movie titles.

Inspired by some handwritten letter forms originally made by Hermann Zapf for his 1949 book "Pen and Graver", the drawings and designs finally became an entire font. It is an ideal companion to create diplomas, certificates and any other vintage projects. Take advantage of the long s which can be reached when you change the round s by the historical OpenType feature or when you simply type the integral sign [ ∫]. This font contains also swash forms of d, g, and v.

I searched all over the internet looking for a realistic sand writing font and came away empty handed. Undaunted by this, I grabbed my business partner, Mary and trekked down to our local river, the Arkansas (pronounced ar-KAN-sas around here). Using sticks, we scratched out the entire alphabet in the sand, including upper & lowercase, and punctuation marks! I photographed the characters, converted them to line art on my computer and used font creating software to turn it into a true type font! This font was designed for adding dates, places and messages to your beach photos that looked as if you wrote it in the sand before you took the picture! It is a decorative font best used in large, headline sizes. To make it appear more realistic, select a darker color from the sand in the photo to use for the type instead of black!

Tramuntana 1 Pro was inspired by the late Renaissance and Mannerist spirit and it was designed by Ricardo Santos during 2009 for his Master in Advanced Typography (Eina-Barcelona). This project was also inspired by Robert Granjon, Garamond and Sabon typefaces. The name tramuntana (Tramontane) is the Catalonian word for the cold wind that comes from the Pyrenees mountains and goes as far as the Balearic Islands. It was designed for editorial purposes (books and magazines). This typeface family contains different font versions for different optical sizes, caption, text, subhead and display, all of them with different x-height proportions and contrast. The serifs are asymmetrical and the letterforms have geometric modulated strokes which simulates the calligraphic variations. Its design approach gives a dynamic feeling, contributing to text flow and continuous reading. The kerning has been optimized for Baltic languages and Western, Southern, and Central European languages.

Judger is a graffiti typeface that we created with the purpose of producing unique works that can be applied to a number of your projects, prioritizing high flexibility in order to make it easier for you to respond to your diverse needs. This typeface is not only versatile, but it will also make your project look appealing, attractive, and cool. When you use this font, viewers will perceive your project as high quality, professional, and well-designed, and your project will be highly rated. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

F.W. Woolworth was once one of the giants of the variety store chains, along with the likes of Kress, S.S. Kresge, McCrory’s, Neisner Brothers, Ben Franklin and others. In 1960, the company brought out a new corporate logo with a type design harking back to the Art Deco style of the 1930s and 1940s. A photo of one of their old store fronts (despite having only eight letters to work with) inspired the digital interpretation of the signage as Bargain Shopping JNL, which is available in both regular and oblique versions.

Rossaline Handwritten is a lovely script font of which characteristics are the connections between letters to look like a naturally connected handwriting that leaves the impression of this font being organically, spontaneously written in order to add a firm personal touch. This font has various line thicknesses to show high letter contrasts to strengthen the font’s firm, clear impressions. Besides, the letters’ height variety, meaning that some of the letters are higher than the others, makes Rossaline Handwritten more interesting and dynamic. However, the connected letters can cause difficulty to read in small text sizes, so that you need to be more careful to use this font by adjusting it to your needs. In addition, you may enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rossaline Handwritten fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

"Fashion Experiment" is an all-caps handwritten display font featuring a funky and expressive gel pen-style that is perfect for creating impactful header text, poster designs, album covers, product designs, and merchandise. The font's unique and playful appearance is crafted to maintain an authentic look, with alternative letters and ligatures adding to its creative potential. The font includes alternative letters and ligatures coded for uppercase letters. The font also features more than 100k kerning pairs, ensuring optimal precision and readability. To maintain the authentic appearance of ligatures, this font was crafted from the handwritten text. However, as ligatures that complement one combination of letters may not work for another, it is essential to have the option of switching to alternate letters or avoiding the use of ligatures altogether. The frequency of use for certain letters varies, resulting in some letters having more alternates than others. For example, letters such as A, E, L, M, S, and T are more commonly used than letters like X, Z, and Q, which explains the difference in alternate options. We recommend using programs that support OpenType features to fully access the font's features. This will allow you to access glyphs directly on the same panel without copying/pasting each glyph. Additionally, the OpenType panel allows you to turn on standard ligatures, which can automatically change letters for available ligatures. Even if you are using a program that does not support OpenType, you can still access the alternates and ligatures of this font through Fontbook or Character Map, as the glyphs are PUA-encoded. However, please note that you will have to copy and paste each ligature or alternate individually, which can be time-consuming and require extra effort. Happy designing, Gulya

Ordinary Boys - Elegant Font Duo is a delightful and versatile font combination that consists of a modern sans-serif font and a playful handwriting font. With a perfect blend of modern elegance and fun, this font duo offers creative possibilities for various design themes. The sans-serif font exudes sophistication and is ideal for modern and elegant projects, while the handwriting font adds a playful and enjoyable touch, perfect for fun and lighthearted designs. Whether you're creating logos, headlines, titles, invitations, greeting cards, printing materials, or designs for children, Ordinary Boys will bring charm and character to your projects. The modern and playful style of Ordinary Boys is what sets it apart. The sans-serif font showcases clean lines and a sleek design, conveying a sense of elegance and professionalism. On the other hand, the handwriting font injects a fun and whimsical vibe, adding a touch of enjoyment and personality to your text. The versatility of this font duo allows you to seamlessly switch between elegant and playful designs, making it suitable for a wide range of projects. Ordinary Boys - Elegant Font Duo brings the best of both worlds to your design projects. Its unique combination of modern elegance and playful fun allows you to create a diverse range of designs, catering to different themes and styles. Whether you're designing for sophisticated brands or playful children's themes, Ordinary Boys will elevate your designs with its charming and delightful touch, making your projects truly stand out with its versatility and character.

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

Introducing Andhibath Bold Script Font, a captivating script typeface that exudes elegance and versatility. With its bold strokes and graceful curves, this font is perfect for adding a touch of sophistication to your design projects. Whether you're creating invitations, branding materials, packaging, or any other creative work, Andhibath will elevate your designs with its unique charm. The Andhibath font features both uppercase and lowercase letters, allowing you to mix and match different letterforms for a customized look. It also includes numbers and punctuation, ensuring that your compositions are comprehensive and well-rounded. With multilingual support, you can effortlessly incorporate various languages into your designs, making it suitable for projects with a global reach. One of the standout features of Andhibath is its PUA encoding. This means that accessing the font's special ligatures and glyphs is a breeze, giving you even more creative possibilities. The ligatures add a natural and handcrafted feel to your text, enhancing its visual appeal. With its script style, Andhibath captures the essence of handwritten elegance. It is ideal for a wide range of design applications, from wedding stationery and logos to social media graphics and advertising materials. The versatility of this font allows you to adapt it to different themes and moods, whether you're aiming for a classic, modern, or whimsical look. Experience the beauty and versatility of Andhibath Bold Script Font. Let its graceful curves and bold presence make a lasting impression in your designs.

Linotype Belle is a casual script face. Created in 1999 by the Swiss designer Isabelle Stutz, the letters in this design have a light, informal nature, and appear as if they were written out quickly, using a writing instrument similar to a ballpoint pen. Linotype Belle has two fonts to offer: Linotype Belle Plain and Linotype Belle Bonus. Linotype Belle Bonus contains more extravagant, swash-like capitals than Linotype Belle Plain's characters; when used together, these two fonts can create a varied, lively impression. Linotype Belle was a prizewinner in Linotype's Third International Type Design Contest. Additionally, the design is part of the innovative Take Type Library, and can be purchased as part of the Take Type 3.1 CD collection. The typeface works excellently when used to set magazine or newsletter headlines, and as text for greeting cards."

Wittenbach is based on lettering by Rudolf Koch which really embodies the essence of classic gothic-style poster lettering of the 1920s. It brings together the traditional style of gothic lettering and a strong, more modern sensibility characteristic of Koch's work and his era. It is very vertical and stylized, but also extraordinarily attractive without the harshness of many of the designs of that period.

Gjallarhorn is based on uncial-style lettering by artist Willy Pogany from his titles for Padraig Colum's classic collection of Scandinavian myths, The Children of Odin. It has various peculiar letter forms, and the font includes two or more different versions of many of the characters. An excellent example of stylized hand lettering by one of the great decorative artists of the Art Nouveau period.

Eckhardt Poster Brush JNL is part of a series of fonts emulating many of the various styles of hand lettering employed by sign painters and show card writers. The series is named in honor of the late Albert Eckhardt, Jr. - a talented sign writer and a good friend of the font's designer, Jeff Levine. Eckhardt Poster Italic JNL is an angled treatment of the font.

Linotype Really, designed by Gary Munch, is a typeface family of six weights with italics and small capitals that offers a broad palette of expressions to draw from, sensibly light to brightly stentorian. The moderate-to-strong contrast of the vertical to horizontal strokes recalls the Transitional and Modern styles of Baskerville and Bodoni, and the subtly obliqued axis of the stoke weight recalls the old-style faces of Caslon. A strong belt of sturdy serifs completes the Realist sensibility of a clear, readable, no-nonsense text face whose clean details offer the designer a high-impact display face.

Frutiger Next is Adrian Frutiger's and Linotype's completely new interpretation of the well known typeface Frutiger released in 2000. For these revised forms, the areas of application are almost limitless. Frutiger Next can be used for anything from office communications to multimedia to complex printed materials. The Frutiger Next family contains small caps, oldstyle figures, and other figure options in every font. Adrian Frutiger's eponymous typeface has been used for decades, everywhere from airport signage to book text to corporate logos to the smallest web graphics. The Italics in the original version of Frutiger were based very closely on the Roman forms; in Frutiger Next, they have been re-designed to be true Italics.