Coral Candy is a bold font with fun and playful looks. This type of font perfectly made to be applied especially in cartoon or child theme which is need a standout font, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : numbers and punctuation multilingual ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

The first ideas about creation this font appeared in spring 2005. I took gothic fonts and a technique of feather as the base and create something unusual. Zholud's Modern Ghotic font has only A-Z, a-z, 0-9 and . , : ; ' " ! ? - characters. I recommed you to use this font in headers. It looks better if you'll start each word with Caps. Please use an application that supports kerning in order to display the spaces between characters correctly.

IMPORTANT: This is the VARIABLE VERSION of PG Gothique This is my addition to a long line of traditional gothic typefaces. As you can probably tell, PG Gothique Variable is inspired by classics such as Trade Gothic, News Gothic, Franklin Gothic, Alternate Gothic, and Gothic Gothic. Well, maybe not the last one... But Paulo, we have all those already, why would we want to add PG Gothique Variable to our collection? This typeface has many subtle design nuances that differentiates itself from its historical influences. Also, this is possibly the most comprehensive Latin gothic font family released to date. It has 99 default styles that cover pretty much every width and weight you could ever need, while this variable version unlocks options to match your exact style preference – including the angle of italic. PG Gothique Variable is designed to handle a multitude of applications, from branding projects, to titles, body text, user interfaces, and film poster credits. This typeface has a style that will suit the purpose. There are 99 default instances in this family, ranging from Thin to Ultra weights across six widths in both roman and italic. Activate Stylistic Set 1 and you will get the alternate slab-serif-style capital “I” that offers improved legibility when placed adjacent to a lowercase “l”. PG Gothique Variable has an extensive character set that covers every Latin European language. See full details and hi-res examples at https://paulogoode.com/pg-gothique

See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno , Gans Lath Modern , Gans Titular Adornada, Gans Ibarra , Gans Antigua , Gans Antigua Manuscrito , Gans Fulgor , Gans Radio Lumina , Gans Carmem Adornada , Gans Italiana and Gans Titania .

The name says it all. It is aesthetically located between American Gothics and European Grotesques and features small caps, a Central European character set and four number formats plus small caps numerals. This makes it not only a heartbreaking headline font, but also extremely versatile.

Hallo Aluyeaholic! Introducing Manverse, a bold manly typeface. Inspired by the things that make up the world of men. With a bold, strong, and firm vibe. Coming with 2 styles, all caps and multilingual support. Very suitable for magazine, headline, website, ads, product package and all type of design project you have. Thanks for checking out my font. I really hope you enjoy using it! If you have any questions I'd be more than happy to answer them, just send me a message!

Hallo Aluyeaholic! Introducing Bavistage, a broken smile typeface. Inspired by the vintage vibe of a girl's broken smile. It gives you past memories, disappointments and happiness at the same time. Coming with 3 styles, and each style has stunning 130+ alternatives, 30+ ligatures and it's super easy to use. Very suitable for magazine, headline, website, ads, product package and all type of design project you have. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easily call alternates character using special combination like A.2 R.3 h.5 etc. so you don't need special software. To get results like the preview just type B.4av.3is.2.tag.2e.3 You will receive: Al_Bavistage_Normal Al_Bavistage_Stamp Al_Bavistage_Vintage Thanks for checking out my font. I really hope you enjoy using it! If you have any questions I'd be more than happy to answer them, just send me a message!

Introducing TT Norms® Pro, version 3.200! The updated font now supports more languages and boasts a larger character set. These implementations have made the typeface even more advanced and convenient. TT Norms® Pro is a functional geometric sans serif for aesthetic design choices and TypeType studio's bestseller. It has been a massive success since its release, and rightfully so! This stylish, elegant, and versatile font will become the full-fledged core of your collection. TT Norms® Pro is ideally suited for products in any domain: streaming services, banking, clothing brands, or the automotive industry. It's equally convenient to use in both web and printing. Now, the TT Norms® Pro typeface includes the most extensive font package, both in terms of font styles and character sets. The base version of TT Norms® Pro consists of 22 fully redesigned font styles and 4 additional subfamilies. Besides, this font boasts the most comprehensive language support in the TypeType collection. We've added the characters of extended Cyrillic and Latin writing systems to the updated TT Norms® Pro and configured the new languages support. The character set has become more extensive—we've added currency symbols with their minuscule version and minuscule mathematical symbols. The 3.200 version of TT Norms® Pro includes: 44 roman font styles, 44 italics, and 2 variable fonts; 7 roman and 7 italic font styles in TT Norms® Pro Mono; 2 variable fonts: TT Norms® Pro Variable with three parameters of variation (weight, width, and slant) and TT Norms® Pro Mono Variable with weight and slope axes of variation; 1993 characters in each font style, including an extended set of punctuation marks, symbols, and currencies; 5 widths: TT Norms® Pro with classic proportions, monospaced TT Norms® Pro Mono, narrower-proportioned TT Norms® Pro Compact and TT Norms® Pro Condensed, and wider TT Norms® Pro Expanded; 38 OpenType features, including a large number of ligatures, fractions, numerators, and denominators; 17 stylistic sets; - 280+ languages support, counting in new symbols for French, Norwegian, Bulgarian, Uzbek, Abkhaz, and more; Flawless kerning and manual TrueType hinting. TT Norms® Pro has already become the signature font of Intercom, Inc., Sartorius AG, CSN, CBSN, Shieldex, and many other global brands. Customization is available for TT Norms® Pro upon request—we adjust the font to suit your project. Learn more about customization options in the corresponding website section. In addition to the TT Norms® Pro, we've designed the TT Norms® Pro Serif typeface. These fonts complement each other perfectly, making an ideal typeface pair.

Palace Script is a formal English script from the 1920s. This typeface, inspired by centuries-old copperplate engravings, could add the perfect touch to any number of holiday cards. You could also make cute little names tags for all of your presents with Palace Script.

Lewis F. Day, in his book Alphabets Old and New, offered this typeface as an example from sixteenth-century England of lettering incised in wood. The font is essentially monocase, but there several lowercase letters are alternate letterforms. Please note that, due to the ornate nature of the letterforms, this font does not contain math operators, fractions or superior numbers. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

A special offer by RMU Typedesign for those who like it old-style. Now finally with the possibility to create a Greek Meander frame.

Designed by Morris Fuller Benton in 1907; an improved version of the familiar nineteenth century blackletter as he had executed it in his Wedding Text.

It's the old Turkish runic script, which I adapted the written language of the three-legged aliens, the characters of a fantastic science fiction movie called Arrival.

Compressed old style display typeface.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

HELLO GOOD OLD Is A Modern Family Font Serif. It has a modern style with a touch of creative ideas that is very suitable to be applied anywhere that requires creative ideas. Is an elegant, authentic and thin lettered serif font. It will add a luxury spark to any design project that you wish to create!

Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Iowan Old Style Titling was designed by John Downer and added to the Iowan Old Style family in 2002. The cap-only character set includes several ornaments and fleurons, broadening the appeal and functionality of the typeface family. Iowan Old Style was originally designed for Bitstream in 1990 by Downer, a noted sign painter. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Expert and old style figure font sets were added in 2000.