In 1925, at the request of Barnhart Brothers & Spindler, the foundry he worked for, Oswald Bruce Cooper designed a wide selection of "screamers", oversized exclamation points used to grab attention in display advertising. The foundry rushed the screamers into production, much to Cooper's dismay. Cooper was disappointed with the final form of the screamers– they were designed in assorted weights to match the assorted Cooper series of typefaces, as well as in a variety of other formal solutions- squaredoff, incised, wavy, Tuscan, and rounded. Cooper's working design methodology was to re-draw his projects a number of times in order to refine the formal results. However the screamer project was hastily cut by the head of BB&S's matrix engraving room in fourteen sizes from the initial sketches, causing Cooper to fire off a fiery missive stating, "Everything I draw is bum the first half-dozen times I draw it; the trouble with these is that I drew them only once!" This typeface is the result of researching Cooper's original drawings and series of engraved proofs for the screamers, as well as the original Screamer type specimen. Cooper Screamers have never been available before in digital format.

Guilloches were – in the old days – used to make the falsification of banknotes more difficult. The engraving of these intricate lines was done by a highly specialized mechanical machine, which was operated by an equally highly specialized engraving artist. Once the settings for a specific curve were changed back to zero it was very difficult, if not impossible to set them back to the old design. I have designed a useful set of Guilloches that join to form ribbons that create a kind of op-art 3d effect. Under the keys A-U and a-u you find joining pieces. Under the keys V-Z and v-z I placed start- and endpieces. 0-4 are different lenght straight extensions and 5-9 are not quite so straight extensions. All other keys are corner pieces that can be used as stand-alones or put in rows to make for superb decoration. With a little bit of experimentation and maybe colored overlays you can achieve super-phantastic designs. Your elegant type designer Gert Wiescher.

Introducing Leathery! It's a modern script font with a signature-style look and ballpoint texture effects. It's very recommended for you who want to make some designs with natural handwriting using a ballpoint. leathery will work for name card design, invitation design, wedding design, posters, packaging, book cover title, quote, social media post, etc. Features: Ligatures Numerals & Punctuation Swashes Accented characters Format File: OTF, Web Multiple Languages Supported How to use this font: Just open your Opentype features ( Minimum Compatible with Adobe Photoshop CS 6 and Adobe Illustrator CS 6 ) in Adobe Photoshop go to Window - Glyphs and all the alternates will appear while using the script font to use the ligatures and swashes. As you type, your text will look like a natural signature or handwriting.

Crainzel is a sophisticated high contrast display serif typeface. The ligature character makes this typeface unique and stands out rather than the regular serif font. Very suitable for logo, headline, tittle, 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 alternates 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. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/ Email us to letterhend@gmail.com if you need something! Happy Designing!

Futuristic, modular, blocked, squarish and modernist KayKhosrow font has got 12 versatile styles! The very first non-cursive Arabic/Persian font which also supports Latin characters as well! You're gonna love how all those different styles are gonna work with each other! For your cover designs, posters, logotypes and any typographic projects, you can count on KayKhosrow fonts! There are 12 of them! Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Lockal - the ultimate font display that's here to take your designs to the next level. With a solid structure and an impressive collection of ligatures, this bad boy is bound to make your creations pop. But wait, there's more! Lockal comes in not one or two but THREE styles - Regular, Rounded, and Rough. And as if that wasn't enough, each style also has an oblique mode for when you need that extra edge. So whether you're working on a branding project or creating eye-catching posters, Lockal has got your back. Trust us; your clients will be blown away by the results. Don't settle for ordinary fonts when you can have something extraordinary like Lockal. Get it now and watch your creativity soar!

For the younger generation, San Serif has been modernized. Metuo is a modern font available in four weights. Easy to read with eye-catching graphics. It goes well with tech and futuristic themes and may be used for a variety of things, including business logos, packaging, and posters, as well as smaller items like banners, advertisements, apparel design, and letterheads. If you choose this typeface, your project will instantly be engaging and enjoyable, so get started right now! of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

Fushar Arabic is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin A-Z all caps, Arabic, Persian and Urdu with 230 ligatures, European, Arabic and Persian / Urdu localized digits, punctuation, currencies and other symbols - the total of 729 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic alphabet. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include required ligatures, discretionary ligatures, proper mark attachment, contextual alternates, case-sensitive forms, ordinals, localised Persian/Urdu numerals, superscript (1, 2, 3) & fractions. Now you can buy Extended Latin character set (uppercase and lowercase) at Fushar font family page on MyFonts. European languages, Vietnamese and Pinyin included.

Charriot Deluxe was released in early 2006 at deviantArt.com - where it received a Daily Deviation frontpage feature - and daFont.com. It has already been downloaded over 20.000 times and now it's your turn to try this sexy pixelfont, absolutely free of charge! Charriot Deluxe has all letters, numbers, punctuation and (currency) symbols to suit your needs and is best used at (any multiple) of size 10pt without anti-aliasing.

Invites is a digital recreation of a 1920’s mechanical script that has never existed. I designed it for my wedding invitations last year and named it in honor of my (ex)wife. Who said it wasn’t her. And she was right. So now it’s called something different. I wanted a sweet, romantic name ... Iris? Taken. Lily? Taken. Iris Lily? Cumbersome. I wanted something short and inviting. Uh ... hmmm.

Superpop is sweet and gentle, a rounded geometric sans with a brushy script twist. Soft and refreshing like a soda, this font gets fizzy when geometric letterforms get mixed with script shapes you wouldn’t expect in a Sans Serif. A display family with two styles ( regular and italic ), 5 weights and an outline version for each style. Opentype Features: https://www.rsztype.com/article/how-to-use-opentype-features-adobe-microsoft-pages

This is the Alter Rebbe of Liadi Ksav. This is a complete font with all diacritic marks (Nikud and Taamim) and also shevana, kamatz katan, dagesh hazak and holam chaser. There are 2 alternatives kinds of Lamed. The Nikud and the Trop are completily independent of the letters. You can use diferent colors in them. There is no combination of letters except for Alef-Lamed ligature. Two diferents kinds of "He" appears in the Tetragramation. You can make any kind of prayer book with this font.

This family was inspired from the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467 printed in 1546 in Paris by Jacques Kerver. He was using a Garamond set (look at our 1592 GLC Garamond), including two styles: Normal and Italic (Normal carved by Claude Garamond, Italic we don't know; it was an Italic pattern very often in use in Paris at that time). We have modified the slant angle of the Capitals used with Italics because the Normal capitals were used in both styles in the original. The present font includes all of the specific latin abbreviations and ligatures used in this edition (with a few differences between the two styles). Added are the accented characters and a few others not in use in this early period of printing. Decorated letters such as 1512 Initials, 1550 Arabesques, 1565 Venetian, or 1584 Rinceau can be used with this family without anachronism.

Mantika Book was originally conceived and drawn parallel to the first Agilita drawings. *[images: pencil drawings] It took several years before having a chance looking at these designs again. But then, my first impulse was to turn this alphabet into a new sanserif, which was to become Mantika Sans. This was the starting point to conceive a super family consisting of different design styles and corresponding weights. The initial drawings of Mantika Book were refined and an Italic was developed to go with it. The aim was to create a modern serif typeface which is reminiscent of humanistic Renaissance typefaces, yet without following a particular historic model. Its large x-height for one is far away from original Renaissance models. Mantika Book was designed as a companion serif typeface to Mantika Sans that can be set for lengthy texts as in books, hence its name. It shares the same x-height with Mantika Sans but has longer ascenders and descenders, making for better word shapes in long, continuous reading. The approach of an ›old-style‹ looking typeface with large minuscules makes Mantika Book also a choice for magazine text settings where one often needs smaller point sizes to fit in a multiple columns layout. The unique details of Mantika Book are the asymetric bracketed serifs in the upright font and its higher stroke contrast than usual in a Renaissance style. The stems are slightly curved inwards. Also, the Italics have a low degree of inclination, which makes longer passages of text set in Italic rather pleasing to read. Another feature Mantika Book shares with Mantika Sans is that all four weights take up the same line length. It covers all European languages plus Cyrillic and Greek, is equipped with lots of useful scientific symbols [double square brackets, angle brackets, empty set, arrows] and the regular weight has small caps. There is a kind of an old-style feeling to Mantika Book, yet these citations were turned into a contemporary serif typeface with a soft but sturdy character.

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

The Clog font family is represented by four different outlines - Normal, Open Face, Shadowed and Engraved. Each of them could be your best choice when designing a wine label, package or magazine headline. By using Open Face and Shadowed outlines you will discover how easy it is to produce unique design of its own style.

Miqdad font is inspired by Arabic letters which have bold characters. It is perfect for use as logos, quotes, and various other designs with Islamic or Arabic themes. Equipped with multilingual. Font files include: This font includes 2 styles, regular & oblique. It is very profitable to buy the Miqdad font. Get it Now ! Thanks.

Jeff Levine acquired a set of original water-applied decals made by the Duro Decal Company of Chicago (now Duro Art Industries) and painstakingly recreated one of the classic hand-drawn typefaces from the Duro line. Named after the street where the company is located, Juneway JNL is an authentic reproduction for the computer-based designer.

Aulendorf font is modern and natural handwritten with a quick stroke pen effect. This font was created to look as close to a natural handwritten script, as possible by including lowercase alternates, ligature and underlines. Perfect for any awesome projects that need hand writing taste. With built in Opentype features, this script comes to life as if you were writing it yourself. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Don't hesitate if you have any questions. Thanks for checking out this font. I hope you enjoy it! AminMario

**Rocketlers Font** This pair was inspired by the retro motorbike poster design that i saw on some coffee shop, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. **Opentype features** Rocketler Font is very good looking in logo, labels, product packaging, invitations, advertising and others. This fonts works with following languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

The core design of Pepper family, designed by VIDI Visual Design Studio, is the fingertip handwriting style inspired by children’s writings on windows. This distinctive low-contrast typeface combines characteristics from neo-grotesque and organic models. Warmer than most Helvetica inspired typefaces, Pepper has organic shapes, playful strokes, rounded endings, and a generous x-height which makes Pepper easy to read. This family could be used well for food packagings, content aimed for children, book covers, branding, high-impact titles and small body texts, advertising, editorial design and more. What makes Pepper Sans Vol.1 competent and more spicy then some other fonts is that it contains a set of more than 900 characters for each of 5 weights that support many Latin-based languages, Greek and Cyrillic. As the weight decreases, the typeface gains impact with becoming elegant, giving titles in (Hair, Thin or Light) a breath of fresh air. We derived a typeface family consisting of Hair, Thin, Light, Regular, Semi Bold in this Vol.1 edition. Typeface features: • 5 weights: Hair, Thin, Light, Regular, Semi Bold • Latin, Greek & Cyrillic multilingual support • More than 900 characters for each of 5 weights Font Specs: • Created: August 2020 • Files type: .ttf

Illuminations Woodcut is inspired by the decorated initial capitals of Medieval manuscripts… and an old book of clip art in which they were found. Try decomposing them in Adobe Illustrator and coloring the pieces or dropping color into them in Photoshop: you can get some stunning results. Caps and TrueType only.

Hello Sierra is a pair of font that brings the fun, playful look with feminine feel. The handwritten sans serif combined with the natural hand writing script are the perfect match for you who needs a typeface for headline, logotype, apparel, invitation, branding, packaging, advertising etc. Features : 2 fonts (sans serif and script font) uppercase & lowercase numbers and punctuation multilingual alternates & 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. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

My family and I recently bought a fixer-upper farm from the 1930 and I have been renovating and building for the last three+ months. I have a lot on my mind (as you can imagine), so I write little notes to keep track of what I need to do. Of course, since I’m often in the middle of something that needs to be done NOW, these notes are kind of messy. I just finished the bathroom and toilet upstairs, so I could actually finish a new font! Scribble Note is an ode to all those messy notes I wrote. Comes with a cool Doodle pack as well!

FONT UPDATE → CFF Accelerator Roman is the ultimate logo typeface. It’s an efficient font family, consisting of 8 fonts with 4 weights and 2 widths. The masculine wide shoulders and sharp diagonal serifs are instantly recognizable and leave a lasting impression. CFF Accelerator is a space-age font made for heavy lifting. The original Accelerator Italic font was designed in 2005, making it our very first commercial font. It was created as an all-caps typeface. Now, the new Accelerator Roman font family has lowercases, an extended glyph set, a gazillion discretional ligatures, and loads of OpenType features. CFF Accelerator is currently our all-time bestseller!

Saugatuck is a cap-height only display typeface inspired by nature. With it’s roots based on a few hand-drawn characters from nearly a century ago by the pen artist W.E. Dennis, Saugatuck now exists as a two-variant typeface. It contains all of the usual characters and accents, most of the math, plus some of the more esoteric characters. Each letter A-Z has a alternate in it’s associated lowercase character to allow you to have even more varied, natural-looking text. Works great for display purposes, seasonal designs, and times when you need to invoke a little bit of a less-structured, environmental feeling.

Beauty Culture is a pair of font that brings the modern and luxury feel. The Bold sans combined with the natural hand writing script are the perfect match for you who needs a typeface for headline, logotype, apparel, invitation, branding, packaging, advertising etc. Features : 2 fonts (sans serif and script font) uppercase & lowercase numbers and punctuation multilingual alternates & 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. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

This font began its life as a project to design a T-shirt for a student group on a large midwestern university. It has now grown up into a unicode font, including Greek and Cyrillic. It has that look and feel of the T-shirts that are ubiquitous on the campuses of colleges and universities over the world. It would make an ideal tool for designing them, as well as posters and banners. Characters in these fonts include Latin, for English and other European languages; small a and c for names like MacDonald; many fractions, including 0/3 needed in baseball; Latin with diacritical marks for Eastern and Western European, Turkish, and Baltic languages; thorn, eth, cedilla, AE, OE, and sharp S for French, German, Icelandic; Latin extensions for clicks of some African languages; Greek (with tonos); Cyrillic for Russian and many other Slavic and Asian languages that use it; most Runes (the full Futhark plus a few more); six-point Brialle; currency symbols for dollar, cent, pound, yen, euro; and a few other extras like the peace sign. Available styles are regular block letters, outlines, and bold.

Dynamic by name, and dynamic by nature - this sleek font is perfect for logos and hightech quotes. The original lowercase f had a big overhang - I redesigned it so it fits better with accented letters, but also kept the original shape as a contextual alternate: the font automatically uses the "large" f before any low letters... Also the lowercase j would crash into any preceding letters with a righthand descender - so I also designed an automatic alternate j. Result: no colliding letters! The Slanted version adds a touch of speed. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

"Welcome to the vibrant and bold world of typography!" Aprek Febux is a display typeface that adds sharpness, aggressiveness, and excitement to your projects. Aprek Febux, with its unequaled capacity to generate spectacular displays, is the ideal answer for your diverse variety of visual creations. Aprek Febux offers more than simply lovely letters. This font enables maximum versatility and creativity in every step of your design with excellent features such as ligature and alternate. You may quickly construct one-of-a-kind letter combinations to add a personal touch to your projects. We also recognize the significance of engaging with a worldwide audience. As a result, Aprek Febux supports numerous languages, guaranteeing that your communications are clearly received by everyone on the planet. Enhance your projects with the powerful visual appeal of Aprek Febux. Get this font right away and see how your every design becomes more impressive and stylish!

It’s the ultimate way to be you. Galore Snack-with the combination between script and display font styles you can mix, match, and call your own. The script style generates modern and elegant vibes with its curvy strokes. Through the display font, it creates simple, clean yet versatile looks. This harmonious font duo supporting and advocating each other to make awesome result in your design. You also get 15 illustrations as special extra that you can use as you wish. Features: Stylistic Sets Swashes Multilingual Supports Uppercase and lowercase PUA Encoded Numerals and Punctuation This font would looks great on your branding, logos, social media quotes, stickers, posters, wall art, merchandise, social media, and many more. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. If you have any further questions, don't hesitate to contact us. Happy Designing.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

Words in a blurry world want to be more firmly anchored in the line - this is the task of the Slab-serif, characterized by solid heels. They can be used in extreme sizes – under 6 points – as well as on huge tarpaulins covering trucks, boats and house facades. Carot serves its robust clarity. The eye takes a while to become accustomed to various character simplifications, but then comes a refreshing reading perception, familiar texts get actual sound. The whole Carot system of 64 members offers a modern alternative for all types of design work.