Americana was designed by typeface artist Richard Isbell in 1965. The generous forms of this typeface contain large inner spaces. Lines of text look light and airy and require generous line spacing. The high cross strokes and the open inner spaces make this font highly legible even in small and very small point sizes. The triangular serifs are a distinguishing characteristic of Americana. These first appeared in the 19th century in France and inspired by the developments in lithography, which allowed for freer forms. The forms were typical for advertisement and display typefaces. The sophisticated Americana is particularly suitable for advertisements and personal correspondence.

Tiblisi is a font designed to emulate the feel of modern Georgian Script, which is called Mkhedruli. In earlier periods of her history, the Georgian language had several other alphabets, notably the Asomtavruli alphabet and the Nuskha-khucuri alphabet. The first printed material in the Georgian language, in the Mkhedruli alphabet, was published in 1669. Since then the alphabet has changed very little, though a few letters were added in the 18th century, and 5 letters were dropped in the 1860s. The font was named Tiblisi in honor of the nation's captial city. Tiblisi comes with full punctuation, a complete character set for most Western European languages that are based on the Latin Alphabet, and full kerning.

In designing an advertising poster to show off the unconventional Safefont typeface, Steve drew what appeared as relatively traditional letterforms for the expository text. When these characters were as well received as the typeface which was the subject of the poster, Steve decided to expand them into a full-fledged graffiti style typeface of their own. While exploring where this new design might lead, Steve worked to elaborate the poster segment which had inspired it. He soon found himself staring at a drawing of a weapons-wielding Bonnie and Clyde. The desperate duo resonated with the graphic elements of the drawn letters; thus leading to the effortless fleshing out of the design, and to its name, Big Clyde.

Picture this: you’re in the heart of a lush, vibrant rainforest. The leaves rustle in the breeze, and the vibrant colors of the flora and fauna surround you. That’s exactly the feeling you’ll get when you use Rainforest, our small caps display typeface inspired by the Jurassic Park logo. Rainforest is a nod to the classic typefaces of the early 20th century, like Rudolph Koch’s Neuland and Monotype’s Othello. These fonts captured the spirit of the Art & Crafts movement with their woodcut prints, and they were particularly popular in themes depicting jungles and tropical islands. But Rainforest takes that classic style to the next level with its sleek and modern design. The typeface can be used in a variety of ways: plain, outlined, or as a separate thin-line layer. It’s versatile, stylish, and sophisticated—perfect for any project that needs a touch of class. Whether you’re designing a poster for a tropical vacation or creating an eye-catching logo, Rainforest will make your work stand out from the crowd. Its candid, natural style will transport you straight to the heart of the rainforest—all while maintaining an air of elegance and sophistication. Give Rainforest a try today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Description: Step into the hauntingly nostalgic world of 80s horror films with 'Witch Whirlwind' a meticulously handcrafted font that channels the chilling essence of vintage movie posters. This font will infuse your designs with the eerie charm and crafty appeal you've been seeking. What Awaits You: Unique Font: 'Witch Whirlwind' boasts meticulously designed letters, numbers, and additional characters inspired by the spine-tingling aesthetics of the 80s. Multilingual Mastery: Your audience knows no bounds with our font, offering complete multilingual support. Why 'Witch Whirlwind' is the Choice for You: Recreate the authentic atmosphere of vintage horror films with this unique font. Elevate your poster designs, t-shirt graphics, and logos with an unmistakable crafty touch. Seamlessly adapt to different projects with multilingual support and versatile font formats. Seize this opportunity to infuse your designs with the spirit of the 80s. Download 'Witch Whirlwind' now and start creating captivating visuals.

Description: Step into the hauntingly nostalgic world of 80s horror films with 'Coffin Stories,' a meticulously handcrafted font that channels the chilling essence of vintage movie posters. This font will infuse your designs with the eerie charm and crafty appeal you've been seeking. What Awaits You: Unique Font: 'Coffin Stories' boasts meticulously designed letters, numbers, and additional characters inspired by the spine-tingling aesthetics of the 80s. Multilingual Mastery: Your audience knows no bounds with our font, offering complete multilingual support. Why 'Coffin Stories' is the Choice for You: Recreate the authentic atmosphere of vintage horror films with this unique font. Elevate your poster designs, t-shirt graphics, and logos with an unmistakable crafty touch. Seamlessly adapt to different projects with multilingual support and versatile font formats. Seize this opportunity to infuse your designs with the spirit of the 80s. Download 'Coffin Stories' now and start creating captivating visuals.

Description: Step into the hauntingly nostalgic world of 80s horror films with 'Burnt Dreams,' a meticulously handcrafted font that channels the chilling essence of vintage movie posters. This font will infuse your designs with the eerie charm and crafty appeal you've been seeking. What Awaits You: Unique Font: 'Burnt Dreams' boasts meticulously designed letters, numbers, and additional characters inspired by the spine-tingling aesthetics of the 80s. Multilingual Mastery: Your audience knows no bounds with our font, offering complete multilingual support. Why 'Burnt Dreams' is the Choice for You: Recreate the authentic atmosphere of vintage horror films with this unique font. Elevate your poster designs, t-shirt graphics, and logos with an unmistakable crafty touch. Seamlessly adapt to different projects with multilingual support and versatile font formats. Seize this opportunity to infuse your designs with the spirit of the 80s. Download 'Burnt Dreams' now and start creating captivating visuals.

Description: Step into the hauntingly nostalgic world of 80s horror films with 'Graveyard Wind' a meticulously handcrafted font that channels the chilling essence of vintage movie posters. This font will infuse your designs with the eerie charm and crafty appeal you've been seeking. What Awaits You: Unique Font: 'Graveyard Wind' boasts meticulously designed letters, numbers, and additional characters inspired by the spine-tingling aesthetics of the 80s. Multilingual Mastery: Your audience knows no bounds with our font, offering complete multilingual support. Why 'Graveyard Wind' is the Choice for You: Recreate the authentic atmosphere of vintage horror films with this unique font. Elevate your poster designs, t-shirt graphics, and logos with an unmistakable crafty touch. Seamlessly adapt to different projects with multilingual support and versatile font formats. Seize this opportunity to infuse your designs with the spirit of the 80s. Download 'Graveyard Wind' now and start creating captivating visuals.

The Strapwork is a symbolic font with the ornaments from the 16th century Mannerism era. These type of ornaments are called Strapwork and are combined with the Moreske ornament. Together they create a rich and refine style. As a prototype for this font I took the tables of ornament examples by etcher Balthasar Bos (1554). The font contains high quality vector graphics with a special attention paid to details. This collection consists of many friezes (borders). There are more than ten basic motifs and a great number of combinations. The ribbon elements are easily laid out by typing the combination of letters. The four typefaces help to combine ornaments in various tones and colors. By overlaying plants elements with ribbon elements you can get a multicolor richness and combinations variety. The font comes with a detail documentation and examples in PDF format. The Strapwork ornaments will ideally suit your needs in graphic design, textile industry or various decorations. The Strapwork font can be easily used not only in traditional approach but also in grunge stylistics, which will enrich your compositions.

Griffo Classico™ was produced by Franko Luin in 1993. It is a revival inspired by the types cut by Francesco Griffo for the Venetian printer Aldus Manutius at the end of the fifteenth century. The roman is based on the type Griffo cut in 1496 for Bembo's de Aetna," and the italic on a type he cut in 1501 for an edition of Virgil. Griffo did not make separate italic caps, so Luin designed his own for Griffo Classico. This is a serviceable family with five weights, including small caps.

Arsenica is a serif typeface designed by Francesco Canovaro for Zetafonts, and developed by a design team including Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. The design of Arsenica takes its inspiration from Italian poster design at the beginning of the century, a time where typography, lettering and illustration where closely interwoven. Dawning nationalist movements, rather than using the modernist language, pushed on traditional Old Style letterforms often imbued with Art Nouveau and Deco sensibility. Artists like Giorgio Muggiani not only illustrated posters for Cinzano, Pirelli and Rinascente, but also provided logo design for newspapers, like "Il Popolo d'Italia". Starting from this mix of eclectic influences, Canovaro first developed the Arsenica Antiqua family, designed as display typeface that keeps the original Old Style low-contrast, wide proportions and quirky stylistic inventions. These where then distilled in a high contrast, Arsenica Display family, expanding the weight range to include both poster, ultra-bold weights and lighter weights that give the design a distinct calligraphic flavour. Bringing the letterforms into contemporary taste meant also developing alternate letterforms that were included in the Arsenica Alternate family, that drops the art nouveau details in favour of a more controlled modern serif aesthetic. Finally, Arsenica Text was developed by expanding the design space in the optical size axis, creating a low contrast, strongly readable old style typeface family, with a reduced weight set, oriented for long body copy typesetting. The final result is a superfamily of 41 weights, covering the design space with an expanded charset of over 900 glyphs, with full coverage of over 200 languages using latin and Cyrillic alphabets. All the weights of Arsenica come with a full set of open type features allowing to explore its vintage-inspired visual inventions thanks to stylistic sets, discretionary ligatures, contextual alternates and positional numbers. Two variable typefaces are included in the full family, allowing you to explore the design space and precisely control not only the weight but also the optical size design variations. • Suggested uses: perfect for elegant modern branding and logo design, fascinating editorial design, expressive packaging and countless other projects. • 43 styles: 7 weights + 7 italics, 4 different styles + 2 variable fonts. • 942 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Oldstyle Figures, Ordinals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Slashed Zero. • 216 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük.

This Art Nouveau typeface was created around the turn of the 20th century by the Bauer Type Foundry in Germany. A unique foot and head serif treatment is the key design feature in this antique revival. Many vertical stems terminate in what has been called “the swooping, pointy-foot look.” A marvel to look at and a joy to set, Gable Antique Condensed will be a lasting asset to your growing typeface collection. Gable Antique Condensed is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Mundo DemiBold is the perfect counterpart of the Hannover Modern, the other Javier Mariscal typeface in our catalogue. This nice font belongs to a series of drawings used in the Señor Mundo comic strip of the nineties.

1977 was a good year for soccer. Attendance for the North American Soccer League (NASL) grew 33%, to 13,000 per game. Brazillian soccer legend Pelé played his final match, kicking for both the New York Cosmos and Santos of Brazil. And a soccerboy named Charlie was crowned with the nickname Chanky. In honor of his soccer hero Pelé, Charlie insisted the neighbor kids call him Chelé. They laughed at him and called him Chanky after Spanky from the Little Rascals. As he grew into his manhood, he became Chank the internationally renowned font designer. Chank created this font Soccerboy, as filtered through the artistic eyes of his 1977 childhood. It's a tri-line font, hand-drawn in Chank's signature cartoon whimsy. Soccerboy encourages play with color and alternate characters. Create coloring effects yourself using layers and the magic wand and paint bucket tools in Adobe Photoshop or Illustrator.

Allen Zuk has designed this wacky typeface that he calls KOOKY. Each character has three variants that bounce about the baseline. The effect is a randomly casual appearance that is great for headlines. The OpenType version does this automatically by using contextual alternates in applications that recognize this option.

Morris Fuller Benton started the Bodoni revival with this version for ATF in the early years of the 20th century. We consider it the first accurate revival of a historical face for general use. Sturdy and a little mechanical in the 19th century tradition, this is the Bodoni series familiar to us all.

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova. Forsberg (1914–1995) is considered one of Sweden’s most masterful graphic designers, and his original Berling has come to be seen as possibly the most definitive Swedish typeface. But a redesign was necessary in order to secure that the spirit of Berling would survive in the digital age. Linotype, the distributor of the original Berling™ , provided its collection of source materials to the designers working on Berling Nova. Additionally, Akira Kobayashi — Linotype’s Type Director — lent them his advice as their project advanced. Berling Nova is available in two optical sizes: Text and Display. The original Berling was a classic Renaissance roman face, with fine terminals and sharp, beak-like serifs. If one looks at Berling’s old lead type proofs in the smaller type sizes, it is clear that these had a fuller and more readable form than in later digital versions. So, in order to help return the new Berling Nova to its original splendor, both the base forms and the serifs were softened and inflated. In the text version, the x-height has been increased a bit (by 4%), the diagonal axis is less apparent, and special glyph ranges, such as those for small caps and old style figures, have been included in the font’s character sets. The display version still has the unmistakable “Berling” character that displays Forsberg’s mastery. Berling Nova is well suited for longer text passages in books, publications, and magazines. This typeface fulfils all the demands that one can make on a legible newspaper typeface. Access to both text and display versions are important to the demanding typographer. This is the first time since the typeface was digitalized that it is possible to use it in order to create truly beautiful and functional typography in all type sizes.

Surfoid is a bold, soft, hazy, lazy and sleepy font-dude that is most happy under an umbrella at the beach holding a drink with an umbrella in the glass. It’s fun, fun, fun until daddy takes the T-Bird away because of the problems that too much fun creates. It’s a rounded off, a little blurry on the lazy edges and would never want to be a serif font. Serif is not the style of Surfoid. Dressed up and sophisticated, this font never wants to be in a suit and tie. Happy is to be in tie dye t-shirt…with its feet dug deep into the cool sand. This is a display headline font best seen at sizes greater than 36 points. It is a full glyph set with upper and lowercase forms. Very Stoked.

Direct mail designers rejoice! Finally, a font family made just for you. Created to be as in-your-face as possible: for use as a primary headline; for dates and phone numbers; and for coupon heads and price points. Tired of kerning numbers for your coupons and prices? Then you'll love this font! All of the kerning has been done for you. (No more spacey 1's!) Designed for a tight kern - just track it in on larger sizes. Instead of standard weights, this font was designed to fit different width needs. Have a long headline, but your client wants it in one line and tall? Use the extra-condensed. Need something really bold for a phone number or price point, but you don't have much height available? Use the fat. And there are two more widths for those in-betweens. And to top it off - you can get them all in an oblique as well.

Whoever knew the Red Menace could be such fun? This bold and bouncy face is based on a Cyrillic alphabet presented in the book Schrifti Alphabeti, published in the Soviet Union in 1979. It rollicks and frolicks, and might even fetch your slippers. Special thanks to Charles Barsotti for permission to use The Pup to promote this doggone-good product. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Draft Beer is a bold script suitable for logos, letterheads & headlines and was inspired by the lettering used by Miller Brewing Co.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

Winchell is the only identified typeface designed in Buffalo, NY prior to the formation of P22 type foundry. It was created by Edward Winchell of the Matthews-Northrup Printing Works and released by the Inland Type Foundry in 1903. The Winchell typeface was also made in Wood by the Hamilton Manufacturing company in the mid 20th Century. The Winchell typeface is a Clarendon styled slab serif that clearly has the look of a pre-modernist design. E.E. Winchell’s Arts & Crafts tendencies show through in this design

A handlettered headline in the January 1953 issue of Park East magazine by wacko album artist Jim Flora provided the inspiration for this exercise in extreme lettering. Check out the [brackets] and the bullet point... like, endsville, daddy-o. Due to the complexity of this typeface, the font has no math operators. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

The typefaces Largo Mager (Light) and Largo Halbfett (Medium) were cast for the first time in 1937 by Ludwig & Mayer based on the designs by Hans Wagner. One weight Largo Licht (Outline) was added in 1956. All fonts were only configured with capitals. The digital version of Largo has pointed serifs and not the slightly rounded ones seen in the hot metal versions which gives the typeface a more elegant note. Largo is often used for fine printing jobs as business cards or formal invitations, or in the fashion and cosmetics fields. Hans Wagner was born in Munich in 1894 and died in 1977 in Altenburg where he had worked as a painter, graphic designer and book designer. In addition to the Largo typeface, he developed, among others, the Altenburger Gotisch (1928), the Welt-Antiqua (1931-1934) and the Wolfram (1930).

Bartosh is the American short form for Bartholomew. Although I chose this font name because of its sound and its short conciseness, I also liked the fact that Bartholomew had been one of the 12 apostles who had worked in India and Iran and the idea that his spirit could be the inspiration for my work.Bartosh was designed for display on the screen: the large x-height and the clear, open shapes facilitate readability. As a result, it develops a strong expression of character and makes it ideal for headings or highlighting individual text passages – it is ideal for captions of any kind. In each of the six weights, it unfolds its own and special charm. The extra-bold version is particularly noteworthy because fonts in this stroke width are rare and it is precisely these extreme bolds that give them a special graphic appeal.For all fonts there are matching italics in a well-developed set of 677 characters. In addition, it is possible to change the digits and currency characters from proportional to tabular or OldStyle via the OpenType feature, and small caps are also available in all fonts.

It was in the beginning of 2008 when I designed a font named Quijote, its predecessor. In the middle of 2009, I looked at it again and thought it could be a good idea to make an update of it. Variables and Features: Quijote Sauvage Pro is the most complete variable. It includes all the ligatures, alternates and swashes. It has the OpenType function in order to alternate glyphs easily when running applications which support this. The font is also offered separately. Quijote Sauvage Standard has the right glyphs to get an equilibrium between wildness and softness. It includes standard and discretionary ligatures. Quijote Sauvage Stylistic has the sharpest glyphs. Its decorative traces are discreet in order not to have problems as regards legibility. Its upper case are less wild than the other variables. Quijote Sauvage Text is the most discreet of its partners. This one was thought in order to improve legibility. Its ascenders and descenders are shorter, so the words are easier to read in small sizes. Quijote Sauvage Contextual, Swash and Titling, are the ones with wonderful terminals. They decorate words, adding a wonderful look of wildness or passion.

Auntie Pat is a new script font in my continuing objective of designing scripts that I can really use. Of course, I am looking for readability in booklets. In many ways, Auntie Pat is a very unusual script in that it has caps, lowercase, small caps with the appropriate figures for each case. This is font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Introducing Larosa Sans - An elegant modern sans serif with a ton of stylistic alternates to choose from. Its clean and minimalistic, works wonderfully on its own for logos, headlines, posters, packaging and many more! And with seven different weights to choose from, your option to create more unique and versatile designs is a lot wider. Have fun and create more. Your imagination is your only limit!! HOW TO ACCESS ALTERNATIVE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type - glyphs

Say hello to classic elegance with the Draftbink font. With a compelling classic serif theme, this font is the perfect choice for creating projects with an elegant touch of classic modernism. Draftbink brings powerful features to give you unlimited flexibility and creativity. The ligature and alternate features allow you to combine interesting characters and create unique and attractive typography compositions. Not only that, Draftbink also supports multilingualism, so you can easily adapt this font to various languages. This opens up the opportunity to reach a wider audience and increase the attractiveness of your project. With its distinctive classic serif characteristics, Draftbink gives your design an elegant and bold impression. Each letter is carefully designed to display stunning beauty and sharpness. Make Draftbink your best choice to present an unforgettable classic modernism feel. Get this font now and show elegance in every detail of your project. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Grotesca Extra Condensed™ defines the term ""extra condensed"". With some unusual design quirks, this sturdy design has roots in styles popular in 1920s Germany. First brought to market by the Fundicion Tipografica Richard Gans type foundry (1888-1975) in Spain, the designer of Grotesca is unknown and the font was formerly sold only in Spain.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

Bronto is a typeface that mutated many times: it went from being morphologically conventional, to have soft features, to finally have some inverted contrasts that made it more dynamical; but all this without losing sight of the meaning of a typefamily, and the aim pursued by this work: Bronto doesn’t behave as a piece of art, but as a tool. In some weights, this typeface possesses fluffy characteristics and is boldly bighead, while in other versions is slightly contrasted and controlled; this in order to maintain the essential features of the typefamily along the versatility and usability of the 20 variations that composed it. Bronto it’s inspired in neo humanists typographies of the 20th century, and in Chilean lettering. This kind of work was made by the spontaneity of the paintbrush, which gave an inverted contrast to some characters. This typeface has plenty of OpenType features, specially an extensive set of ligatures in all weights. Bronto is well suited for motion graphics, letterings, web, advertisings, magazines and books.

Whereas blackletter types were hand written, Text letterforms are drawn using a series of graphic shapes that slot together in a series of permutations, one set for lower case and another for the upper case. As the link between the method of construction of the letterforms has been removed from the appearance (the quill pen with which they were written resulting in the angle and sharp stresses) there is no logic for these stylistic elements to work in any set way. As this fundamental rule of the blackletter style has been removed the typeface has become something other than a typical or derivative blackletter font.

Marathon was originally designed by Rudolf Koch in 1931 for Schriftgiesserei Klingspor. It is a roman with short ascenders and descenders. The serifs are small, but longer at the ends of the arms of E, F and L, M is rather splayed and is without top serifs, like M in other typefeaces designed by Rudolf Koch. The lowercase g has no link and an open tail, again like the g in other Koch types. U has the lower-case design. In the W the middle strokes cross, the lower case w has no middle serif. The figures are short-ranging. Ute Harder from the Fachhochschule Hamburg had redesigned Marathon with the help and supervision of Professor Jovica Veljovic. She has added a book weight to offer more flexibility with this beautiful typeface.