Modérnica is a sans serif type including roman & oblique styles in 9 weights. Originally published in 2014, then in 2020 we released version 2.0, in which we expanded the language coverage and character set, adding a new Fat weight, tabular figures, smart fractions & arrows. We’ve improved the OpenType features adding new Stylistic Sets. Besides this, we have retuned the letters spacing in the whole family. Seeking for the best performance, we added a bit of spacing between letters in the text versions (middle weights from Book to Bold), while as for the display variants (extreme weights from Thin to Fat) we made them gain space in the light versions and loose it in the blacks.

TG Frekuent Mono a new modern geometric sans serif with monospaced style. This typeface is made with precise calculations so that it displays a beautiful and modern appearance. Besides this new typeface is also equipped with six different styles, ranging from ultra light to extra bold plus variable font. This typeface also has various alternative characters that can be used according to the needs in the design. Alternative characters that exist in this type of font have a touch of script typeface so that it makes the alternative character of this type of letter a little quirky and different but still fits well with the combination of modern main characters. And supports approximately 100 languages.

introduce our font "Blinsithar" font Happy! finally this font has been released in 2023, with full of new ideas having new character for each letter. It has beautiful curves that enhance the appearance of the font which is no less attractive. Complete with lowercase and uppercase letters, punctuation, swash and ligature. By creating this font, we hope to help your design type needs, to support your business and your business. This font is very suitable for use as branding, logos, slogans, websites, weddings, products and so on. Full Set of standard alphabet and punctuation Extra set of ending swashed lowercase Handwritten ligatures Thanks so much for checking out my shop! Happy creating! Cheers! Hanief - Hanzel Space

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Proudly present New Kids Crew - Graffiti Type, created by ikiiko. New Kids Crew is a raw and expressive brush font with touch of street style. This type has a freestyle shape that has the characteristics of freedom, youth and is filled with unique characters. This type is very suitable for making a poster, magazine layout, brand logo, sleeve cover, party flyer, quotes, or simply as a stylish text overlay to any background image. What's Included? 2 Weight : Regular & Oblique Uppercase & Lowercase Numbers & Punctuation Alternates & Ligature Multilingual Support Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Handwriting fonts have a great disadvantage when it comes to double letters: they look fake. With Palma come loads of ligatures for double letters to make your design look authentic (as shown on the image above).

Casino Hand is a handwriting font that comes with some exciting new OpenType features*. The font comes with an alternate glyph for every uppercase letter, lowercase letter, numbers and some punctuation. These alternates are extremely easy to use with OpenType doing all of the hard work for you! Plus, you get the cross platform compatibility that OpenType provides. When the Contextual Ligatures feature of Casino Hand is utilized in your graphics application, the font substitutes a duplicate letter with the alternate glyph for that letter. This automatically makes the font look less like a font and more like real handwriting! Casino Hand also allows you to switch to use the alternate glyphs as the default by using the Stylistic Alternates feature. You can even use the two OpenType features together! This means that you can have duplicate glyph substitution with either the standard letters, or the alternates. You can also use the Glyph window in the Adobe CS applications to selectively choose characters. You can simply go into the glyph window and replace a letter that you don't like with its alternate. With Casino Hand, you essentially get two fonts in one, and a handwriting font that is much easier to use than previous designs. * Contextual Ligatures and Stylistic Alternates require Adobe CS applications. Many more software applications will be supporting these features soon!

Le Havre. It's a family with no lack of characters diverse, yet none are as deep or tested in their appearance as the weathered, hand-drawn texture of Le Havre Hand. Tall and lean, the well-aged face carries with it the stories of a thousand miles. Starting with a sans as its origin, this handwritten font's layered structure has been shaped through time and trial, ultimately capturing the simple beauty of a wise, experienced character. This layer-based font family includes style variations and new layering solutions. Le Havre Hand includes 21 font files. It also includes an outline, crosshatched versions and five inline variations, several extruded variants including a unique wireframe options. There are two extruded fonts and two drop shadow fonts. For users that have Opentype programs, such as Adobe Illustrator, Photoshop, InDesign, Microsoft Publisher and Quark, each font also comes with an established set of art deco alternatives. Le Havre Hand's alternate characters come together to exhibit a clear sensitivity to the art deco style. Use them on their own or increase your options by using them with any of the other members of the Le Havre family. Take time to look deep into the soul of Le Havre Hand. It's often the tested, weathered hand that is most reliable to guide you to success.

One of the earliest fonts published by Canada Type was Almanac, Phil Rutter's digitization of Imre Reiner's 1957 calligraphic typeface, London Script. In 2007, when the font was revisited for an update, it was shown that it too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch, using larger originals. This new digitization maintains a soft contour and, slightly darker and steadier stroke, and much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates and ligatures were added to the redigitized character set. The name was also changed to Reiner Hand, to better reflect the origins of the design. Reiner Hand is soft and irregular jolts from a calligraphy master's hand. In a very Reineresque fashion, most characters include the one finishing stroke that makes professional calligraphers pause and ponder this additional touch to a letter's personality. Reiner Hand comes in all popular formats. The TrueType and PostScript versions come with 2 fonts, one of them loaded with alternates and ligatures. The OpenType version combines both fonts into one, and includes features for intelligent substitution in software that supports advanced typography. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

»COSMA« is an old greek word that stands for »beauty« and »order«, I thought it a very befitting name for my new font-family. My »Cosma« has that special high-contrast Renaissance beauty but is very orderly in appearance. »Cosma« is a classical beauty with modern touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from UltraLight to Bold and all the necessary weights in between. Great for body copy and headlines! With 964 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Cosma« has a set of Cyrillic that is also good for Serbia, Macedonia and Ukraine. Sorry, no Greek! But it has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many alternative letters and ligatures. On top I designed two sets of alternative, decorated caps each in normal and oblique. »Cosma« comes in Normal, Italic and Oblique, sometimes you just don’t want to use Oblique instead of Italic that would be too playful for the occasion. »Cosma« doesn’t come cheap, but I start off with an 80 % reduction, so that is a good chance to get all 49 cuts for a phantastic price. Oh, I almost forgot, If you buy the whole family, you get the variable fonts to go with it for free, that’s a good investment into the future. Enjoy!

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface lacks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface laks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

The name Corpid derives from “Corporate Identity” — which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity. Although it was designed to fit strict technical requirements, Corpid has a personality all of its own. This was in part a result of what Luc(as) calls “creating tension” between the inner and outer curves of each character. “I tend to put a little more diagonal contrast into fonts than is the case in most neutral sans serif fonts. This brings a certain humanistic touch to the typeface. Much more subtle here than in Thesis – but although it is almost invisible, it is still palpable.” Corpid was gradually expanded into a five-weight, three-width family. The new Corpid SemiCondensed has double functionality. It is a no-frills, compact headline font that offers optimum legibility in sizes from small to huge. It is also a great space-saving text typeface for magazines, newsletters or annual reports: economic, versatile, and provided with several different numeral sets. In this OpenType type version, all weights come with Small Caps. With its wealth of numeral styles and complete character sets (including Central European) the Corpid family is now well equipped to tackle the most complex of typographic tasks.

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

I hope that you enjoy the "Linden" font. The basis for this new font is my Leaf font. As much as I love the Leaf font, however, I felt (and still feel) the desire to have a larger font, for three reasons: 1. I enjoy customizing my internet browser to show different fonts. The original "Leaf" font was a bit too small for that. The new "Linden" font is perfect for this function. 2. Some of the fonts that I use in writing e-mails look their best at sizes 24 or 36. That’s fine for me, but unless I want to go to the trouble each time of changing the size, then the recipients oft my e-mails get wolloped with an enormous-sized font. When I use "Linden" for my e-mails, it’s automatically a perfect size at 12 or 14, solving this problem. 3. I also enjoy customizing the font in which I read my e-mails. Unfortunately, there are only a few which are legible in the tiny size in which this is configured. Again, "Linden" is configured to be large enough automatically so that it can easily be read by anyone. I am pleased to offer a pleasant font for use in any or all of the scenarios; I love fun solutions and hope that you will enjoy the "Linden" font. (Just a tip: when printing out documents using the "Linden" font, I love it best in font size 11!)

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Lust Didone’s character set was expanded as well during the redraw and update, the Italics were separated and reimagined anew from the universal italics in the original offering. Lust Didone also includes the new Fine optical size with complementing Italics for each size as well. And, yes, more swashes. 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.

Lust’s original masters were completely redrawn, expanded, with a new optical size added based on customer requests. Lust now sports 6 fonts, instead of the original 4: Standard, Display, Fine, and complementing Italics. The character set has been expanded as well to include more OpenType features and more swashes. 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.

BulletNumbers come in very handy for all kinds of lists that don't exceed 100 categories. I have long since been using my own Bullets in positive and negative and four styles, serif, sans, engravers and script, a fitting one for every occasion. Now I added six more designs and perfected the Bullets for all of you. The following is a »must read«! Here is how to use them: (Important! Set letterspacing to '0', otherwise the two digit numbers will have gaps!!!) The numbers 1-0 reside on the standard keys. Two digit numbers 01-99 can be composed out of left and right half circles by using (lowercase) 'abcdefghij' for the first digit (left half circle) and 'lmnopqrstu' for the second digit (right half circle). The critical pairs (all combinations with 1) can be found in various places. Type '!' for 10, '#' for 11, '$' 12, '%' for 13, '&' for 14, '(' for 15, ')' for 16, '*' for 17, '+' for 18, ',' for 19, '-' for 21, '.' for 31, '/' for 41, ':' for 51, ';' for 61, '?' for 81, '_' for 91. The two arrows are on the < and > keys. '100' can be found with shift+option+1. Last but not least, the capital letter bullets A-Z can be found on the shift+letter A-Z. Your very practical Gert Wiescher

This is a must read!!! BulletNumbers come in very handy for all kinds of lists that don't exceed 100 categories. I have long since been using my own BulletNumbers in positive and negative and four styles, serif, sans, engravers and script, a fitting one for every occasion. Now I perfected them for all of you. Here is how to use them: (Important! Set letterspacing to '0', otherwise the two digit numbers will overlap!!!) The numbers 1-0 reside on the standard keys. Two digit numbers 01-99 can be composed out of left and right half circles by using (lowercase) 'abcdefghij' for the first digit (left half circle) and 'lmnopqrstu' for the second digit (right half circle). The critical pairs (all combinations with 1) can be found in various places. Type '!' for 10, '#' for 11, '$' 12, '%' for 13, '&' for 14, '(' for 15, ')' for 16, '*' for 17, '+' for 18, ',' for 19, '-' for 21, '.' for 31, '/' for 41, ':' for 51, ';' for 61, '?' for 81, '_' for 91. The two arrows are on the < and > keys. '100' can be found with shift+option+1. Last but not least, the capital letter bullets A-Z can be found on the shift+letter A-Z. Yours very practical Gert Wiescher

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Carbona is our attempt to imagine the future through typography. The perspective of the future is, perhaps, the greatest force of action humans have. Knowing that there will be a tomorrow is the stimulus we depend on to decide how we are going to act today. This idea is also one of the best fuels for creativity. That's why we thought of Carbona as a typeface in sync with everything that appears on our technological future. From the countless births of new digital currencies to the sending of ultra complex algorithms at 5G speed, the future of any habit, choice or task that we will perform will transit through some super computer located somewhere very far away – who knows even on another planet. The family is designed to deal with the situations of the digital world, today and what is yet to come. It is optimized for programming, contains cryptocurrency symbols, advanced features for use in interfaces, and much more.

Distinctively Art Nouveau with a touch of Arts & Crafts, Quaint Gothic is a typographic gem from the late nineteenth century. Also known as Desdemona, this undulating and organic typeface is a versatile and refreshing alternative to many of the font designs on the market today. Quaint Gothic comes complete with an alternate set of caps and a new set of lowercase characters. And for your convenience, a nifty set of small caps and small figures are included in this version. You may also want to access the word-on-a-wave logotypes like “to” and “and” located in the special character slots. They’re great for constructing provocative headlines and titles. Quaint Gothic is also available as an OpenType font. It contains lining and oldstyle figures, prebuilt fractions, stylistic alternates, a wide variety of discretionary ligatures and word ornaments. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

One of the earliest fonts published by Canada Type was Coffee Script, Phil Rutter's digitization of Robert Hunter Middleton's 1962 brush script, Wave. In 2010, when the font was revisited for an update, it was shown that it was too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch. This new digitization maintains a soft contour and a steadier stroke, as well as much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates were added to the redigitized character set. The name was also changed to Middleton Brush, to better reflect the origins of the design, which was Middleton's response to Robert Smith's popular Brush Script Middleton Brush comes in all popular formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Oddsorts’ Ciao Bella family pairs the funky elegance of a hand-drawn copperplate script with a bouquet of ornament fonts. Ciao Bella’s expansive range of alternate opening and closing forms, word-connecting ribbons, and swash characters use the power of OpenType to create a genuinely hand-lettered look. Bursting with over 2,000 characters, the Ciao script mates broad linguistic support with expressive possibilities galore in an easy-to-use software experience. But then there are the ornaments! What’s truly innovative about Ciao Bella’s ornaments is that most of the characters come in pairs that can be set in multiple colors without any stacking, layering, or aligning. They work in any application that supports kerning — even most word processors. See the slideshow and Gallery link above to see how they work. Ciao Bella marries the best of the old world — the warm, classic feel of ink on paper — and the new — the amazing capabilities of “smart” OpenType fonts — in a union that’s sure to delight.

Delthami Script a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline. So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more. Delthami Script come with 704 glyphs. The alternative characters were divided into several OpenType features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The OpenType features can be accessed by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map Windows). If you have any question, don't hesitate to contact me by email bexxtype@gmail.com Thanks and happy designing :-) Thank You for purchase!

Inspired by the MacFarland series in the 1912 ATF catalog, Apparel is a typeface that shares similar functional characteristics with Times New Roman and Caslon fonts yet it has its own personality: A great choice for high-impact design. Apparel is a contemporary, classy and fresh serif typeface with a laid-back attitude that best suits your design needs. Its medium-large x-height makes it ideal for headlines and brand identity design. Apparel also includes a version, with a greater contrast between thick and thin strokes, for use in even larger sizes. The font comes with italic styles which can be used individually or in combination with the upright variant. Moderately slanted italics are also available as OpenType Stylistic Alternates. Each font style supports more than 200 Latin-based languages, as you would expect from Latinotype fonts. Apparel also includes a basic Cyrillic set, old style & lining figures, fractions and alternates, among other OpenType features.

Chandelier Signature a new fresh & modern script with a handmade calligraphic style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Chandelier Signature come with 530 glyphs+. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts. so that all the alternate characters can easily be accessed in full by a craftsman or designer. Chandelier Signature Features : - Uppercase & Lowercase - International Languange & Symbols Support, Punctuation & Numbers, PUA Unicode Range Standard Ligatures, Discretionary Ligatures, Stylistic Alternates, Stylistic Set 01-05 Character. If you have any question, don't hesitate to contact me by email pointlab23@gmail.com Thanks!

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Introducing DEKORYA – a brand new serif with all the nostalgic vibes! DECORYA typeface is a beautiful and inspiring mix of classic calligraphy and modern serif with 46 unique ligatures and special alternates. Comes in 3 versions: Condensed, Regular and Expanded DECORYA is made mainly for headlines, titles, and other short texts and is well-suited for advertising, vintage mood boards, branding, logotypes, packaging, titles, editorial design, modern logos, websites, social media quotes, wedding branding, modern and vintage design What's Included? Dekorya Main File 46+ Special Alternates and Ligatures Condensed, Regular and Expanded Instructions (Access special characters in all apps, even in Cricut Design) Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thank you Dharmas Studio

The Englishman William Caslon (1672–1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. American Type Founders presented a Caslon in 1905 which is true to the forms of the original. This font is relatively wide and comes complete with small caps and old style figures.

The Edit Collection is a brand new super family designed to create multi-platform brand and editorial typography. The Renaissance construction allows the typeface to handle long texts in small, medium and large sizes, balancing its astonishing and recognisable details with high legibility. The Edit Collection with its rational, clean aesthetics and great versatility is best suited for complex typography programs. Edit Serif Pro is a modern multilingual multi purpose typeface and the first release of Atlas’ next super family. Its humanist contrast combined with modern details makes Edit Serif Pro suitable for headlines and texts that need to distinguish themselves — while still expressing rational and clean aesthetics. Each style comes with 1.540 glyphs, many features and alternative character sets. As the well known Heimat Collection and Novel Collection already are, Edit will soon become a huge superfamily like all typefaces published by Atlas Font Foundry. Designed by Christoph Dunst for Atlas Font Foundry between 2012 and 2017.

Los Lana Niu was designed by Bruno Jara and Luciano Vergara. The typeface is based on Los Lana (2007). Along with the redesign, the font has increased from 1 to 24 different styles. This new version preserves the rustic aesthetics of the original typeface, but it lacks of curves and it visually looks as if it was a nirregular font. Los Lana Niu comes with a wide range of ligatures included in every weight: from Thin to Black. In order to offer a wide array of uses, the typeface has been structured by adding acomplete family of small caps, which makes this font well-suited for headlines, posters, branding and publishing design. Los Lana Niu comprises 3 subfamilies: Los Lana Niu Essential (392 glyphs) – including both regular and alt versions, Los Lana Niu Small Caps (392 glyphs) and Los Lana Niu (820 glyphs), which includes a variety of OpenType features such as stylistic ligatures, contextual alternates and small caps.

The Aviano series returns with a flared semi-serif. Aviano Flare's subtly curved forms lend refinement and luxurious elegance to your designs. Aviano's foundational extended classical forms give the face strength and power. Aviano Flare is a versatile new addition to the Aviano titling series. Aviano Flare comes in six different weights and is packed with OpenType features. Want to get rid of the serifs for that logotype or headline? Need swash forms? Art Deco alternates? Aviano Flare includes 74 alternate characters. Two style sets are available, two sets of art deco inspired alternates, small forms, swash, titling and stylistic alternates. Aviano Flare also includes 40 discretionary ligatures for artistic typographic compositions. Please see the informative .pdf brochure to see these features in action. Be sure to check out the rest of the Aviano series which can be used as complementary faces, including Aviano, Aviano Serif, Aviano Sans, Aviano Didone and Aviano Slab.

Sherlina Script Sherlina Script a fresh & modern new script with a handcrafted calligraphy style, decorative characters and dancing baseline! Very pretty for invitations such as greeting cards, branding materials, business cards, quotes, posters and more!! Sherlina Script comes with 476 glyphs. Alternative characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. The Open Type feature can be accessed using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop version of Corel Draw X, and Microsoft Word. And this Font has provided PUA unicode (custom coded font). so that all alternative characters can be easily accessed in full by a craftsman or designer. Sherlina Script: Uppercase & Lowercase Letters International Languages ​​& Symbols Support Punctuation & PUA Numbers Unicode Range Standard Alternative Style If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternative glyphs using Font Book (Mac) or Character Map (Windows). thank you

Introducing “FATHUK Font” – Where Playfulness Meets Creativity! Unleash your inner creativity with FATHUK Font, a playful display font designed to ignite your imagination. FATHUK Font adds a whimsical touch to your projects, making it perfect for playful and imaginative designs. Whether you’re working on children’s books, fun posters, or quirky branding, this font brings an element of joy and creativity to your work. Crafted with precision, FATHUK Font’s unique style is sure to capture attention. Its playful and charming appearance invites readers to engage with your content and sparks curiosity. With FATHUK Font, the possibilities are endless. Use it to infuse a sense of fun into your designs, and watch as your projects come to life with personality and flair. No matter the creative endeavor, FATHUK Font is your go-to choice for adding a playful twist to your work. Embrace the spirit of creativity, and let FATHUK Font elevate your designs to new heights. – PUA Encoded Characters – Fully accessible without additional design software.

»SIGMA« is the name for the Greek voiceless »S«. It is also called the »Lunar Sigma«, in Hellenistic times the letter was simplified to »C«. I thought SIGMA was a nice name for my new, very readable and friendly Sans typeface. »SIGMA« has that classical Sans beauty with friendly touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from Thin to Bold and all the necessary weights in between. Great for body copy and headlines! With 875 Glyphs it is a truly European font designed for all Central European and Latin using countries. »SIGMA« has a set of Cyrillic that is – besides Russia – also good for Serbia, Macedonia and Ukraine. It has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many ligatures. »SIGMA« comes in Normal and Oblique, I made it Oblique instead of Italic which would have been too playful for this friendly font. Enjoy!

Typeface Laborat™, designed by Kristína Jandová, is a Grotesk typeface that combines the geometry of a circle and a square. The visual message of geometry is applied to stylistic sets and modified by special characters, including abstract forms or symbols, that turn the typeface into a visual “graphic” language. The basic character of the typeface lies in the default set based on the circle-like shapes of letters. The stylistic sets 01 to 03 are characterized by different geometrical modifications of the growing character and the idea “from circle to square” applied on the letters a, f, g, l, r, t, u, y. By using these different alterations of consistent letterforms, it offers a playful space for everyone. The first inspiration of the typeface origins in Paul Renner’s Futura sketches, that were a celebration of geometrical playfulness of modernism meeting constructivism. It is modified into a new contemporary “wave” of typography as a graphical method. Laborat comes in six weights, from Hairline to Heavy.