Schotis Text is a workhorse typeface designed for perfect reading on running texts. Its design is based in Scotch Roman 19th-century style but designed from scratch, with a more contemporary and not nostalgic look. It has seven weights plus matching italics, with 1100 glyphs per font, with a very extended character set for Latin based languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In fact, they were called just Modern. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions. The name Schotis comes from the misspelling of Scottish that gave the name to a popular dance in Madrid in the 19th-century. It first was called Schotis and today is knows as Chotis.

Introducing Dominant Youth, a bold and impactful display serif font that exudes confidence and strength. With its commanding presence, Dominant Youth is designed to make a lasting impression on any creative project. The font’s robust and assertive letterforms showcase a unique blend of classic elegance and contemporary style. Its tall and slender structure adds a touch of sophistication, while the sharp serifs give it a distinctive edge. Dominant Youth is carefully crafted to capture attention and evoke a sense of boldness and youthfulness. Whether you’re working on branding, editorial design, headlines, posters, or any other project that demands attention, Dominant Youth is the perfect choice. Its versatile nature allows it to excel in both digital and print mediums, ensuring your message stands out in a captivating manner. The well-defined characters of Dominant Youth provide excellent legibility, even at smaller sizes. The font’s wide range of weights and styles offers flexibility, allowing you to experiment and find the perfect balance for your design needs. From light and elegant variations to bold and impactful options, Dominant Youth empowers you to create visually striking compositions that leave a lasting impression. Don’t settle for ordinary typography when you can make a statement with Dominant Youth. Embrace its commanding presence, embrace its youthful energy, and elevate your designs to a new level of distinction. Features: Dominant Youth Multilingual Support Thank you

Sometimes it is a boring, tiring process to find a proper font for your project, and what is worse is that the font type you find has no specific character preventing you from delivering messages effectively. For that reason, we have the best solution to your problems. Maffa Latte is a perfect display font for delivering your messages on every design you are working on. Such a display font generally shows you a unique, funny, fun impression for any necessities, increases the nuances of professionalism and attractiveness to the product or brand promoted. The right use of this font makes the design more interesting and fun to cheer up customers. This font, with a clipart as an extra bonus, is legible due to its simple forms and proportions along with high contrasts. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Maffa Latte fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

Pershal is something of an oddball, and that's the point. Dynamic and fast, Pershal attracts interest. Its architecture evokes growth and progress. Inspired by the futuristic styles of the 1990s, Pershal started on an aircraft ride as a sketch on a napkin. I set the concept aside for almost a decade before I went back to play with the typeface. Pershal is planned to complement applications in consumer finance, technology firms or biotechnology. As such, it has a complete set of both tabular and proportional figures. For the lowercase, Pershal features a distinctive shape that emphasizes its x-height. Its horizontal movement is highlighted by some of its other features, such as its crossbars. To emphasize growth, acceleration and inventiveness, crossbars and other elements are cut at a dynamic angle. It's a sans serif without a lot of contrast. Another unique feature of this typeface is the vast number of OpenType alternates. If you prefer a more conventional appearance to your sans, with stylistic alternates, you have that option. Altogether, there are more than seven separate sets of stylistic alternates and about 250 alternates for characters. This enables you to mix-and-match and create your own personal typeface. For branding, this makes it very useful. For your next project that requires a dynamic and technological appearance, give Pershal a shot.

Letterpress Studio -Crafted Vintage Goods Letterpress Studio includes following • 7 fonts - a textured and clean version of each • Ornaments • Catchwords • 25 Logo Templates Letterpress Studios core is seven fonts - textured and clean version of each. Fonts are designed in same proportions and work great together. Here’s a short introduction to the fonts: • Letterpress Script -A connected script with lot’s of OpenType features • Letterpress Script Bold -Bold version of Letterpress Script • Letterpress Condensed -A condensed sans-serif typeface with swash uppercase characters on • Letterpress Gothic -A sans-serif typeface with swash uppercase characters • Letterpress Sans -An extended sans-serif typeface with swash uppercase characters • Letterpress Wood -A woodcut style serif typeface with swash uppercase characters • Letterpress Black -A black woodcut style serif typeface with swash uppercase characters • Letterpress Ornaments -A set of pictograms, ornaments, borders and badges (OTF, AI & PDF) • Letterpress Catchwords -A set of over 100 woodcut-style catchwords (OTF, AI & PDF) All fonts have West European, Central European, Baltic, Turkish and Romanian character sets. Fonts come in OTF format. TTF are also available but OpenType features won’t work with them. Letterpress Templates -25 templates (AI) Letterpress Templates is a set of 25 ready made compositions with font pairings, shapes, ornaments and ready made 2-4 color schemes for each. Templates can be used as such or as a starting point for your own project. Download Letterpress Templates here.

Now check this, Underware’s blockbuster type, Bello. Bello Pro is a brush typeface for headline point sizes - it’s big & beautiful. Bello has lots of ligatures and start and ending swashes. They are automatic in Bello Script Pro, which is a cross-platform OpenType font with many OpenType features. Bello has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). After a period of hand sketching and lettering, Bello got two main styles: Script and Caps. These two fonts create a strong typographic contrast - while Bello Script Pro is flourished and flowing, Bello Caps Pro provides upright and sturdy capital lettering. As sturdy as brush lettering allows, of course. Careful spacing and kerning ensures* that Bello appears like fluently written handwriting. However, that’s not enough for a hand-lettered feel. Therefore Bello comes with a set of 64 ligatures. Some of them are typographic, some made simply to create a more intimate, natural impression. For the same reasons we have added a few ornaments and a set of snap-on beginning and ending swashes which attach to the lowercase letters of Bello. With Bello Words Pro you can add some two-color words in your text by the pre-designed word logotypes. Trust the brush! *So take care: use ‘metrics’, not ‘optical’ as a spacing setting in layout apps.

Palatino Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is based on the Al-Ahram typeface designed by Zapf in 1956 but reworked and modified to fit the Palatino nova family. The design is Naskh in style but with a strong influence of the Thuluth style as well. This is evident in the swash-like finials and the wide proportions of the letterforms. It is designed for use in print in both large and small sizes. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino nova and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Palatino Arabic wins Type Directors Club award. Each year, the New York-based Type Directors Club judges typeface designs from all over the world in their TDC2 contest. Linotype is pleased to announce that a very new typeface of its own is among 2008’s winners: Palatino Arabic. A collaboration between Nadine Chahine and Prof. Hermann Zapf, this face is an extension of Zapf’s Al-Ahram Arabic type from 1956 recreated to join the Palatino nova family.

A tessellation is a shape that can be used to completely fill the plane. Simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble animals including horses, goats, rabbits, fish, frogs, and other vertebrates. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble flying birds. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

The Sanggria Calligraphic Font is a beautifully crafted typeface that exudes elegance and sophistication. With its graceful, flowing letterforms and intricate details, this font adds a touch of timeless beauty to your designs, making it perfect for wedding invitations, formal correspondence, branding, and other projects that require a sense of refinement and artistry. Features: Calligraphic Elegance: The Sanggria Font is designed in a classic calligraphic style that embodies grace and sophistication. Its flowing, cursive letterforms create an aura of timeless beauty, making it ideal for projects that require an elegant and artistic touch. Intricate Details: The font's intricate details and delicate flourishes add an extra layer of artistry to your typography. It captures the essence of traditional calligraphy, bringing a sense of craftsmanship and refinement to your designs. Versatile Application: This font is versatile and well-suited for various design projects that aim to evoke a sense of elegance and style. Use it in wedding invitations, formal documents, branding materials, packaging, and more to infuse your designs with a touch of classic beauty. Uppercase and Lowercase Letters: The font includes both uppercase and lowercase letters, providing flexibility and creative freedom in your designs. Mix and match the cases to create visually appealing and harmonious typography. Ligatures , Stylistic Alternates and Swashes: The Sanggria Font offers a selection of ligatures, stylistic alternates and Swashes that enhance the visual interest of your text. These special characters create unique connections between letters and alternate forms, allowing you to create sophisticated and personalized typography. Punctuation and Symbols: In addition to the alphabet, the Sanggria Font includes a comprehensive set of punctuation marks, numerals, and common symbols. This ensures consistency and ease of use when incorporating the font into your design projects. Easy to Use: Installing and utilizing the Sanggria Calligraphic Font is hassle-free. It is compatible with both Windows and Mac operating systems and seamlessly integrates into popular design software such as Adobe Photoshop, Illustrator, and InDesign. This ensures a smooth and efficient design workflow. Elevate your designs with the timeless beauty of the Sanggria Calligraphic Font. Let its graceful, flowing letterforms and intricate details bring an aura of elegance and sophistication to your wedding invitations, formal documents, and branding materials. Embrace the artistry of this font and create designs that exude classic beauty and refinement.

The Joanna® Sans Nova family is the only typeface in the Eric Gill Series that was not initially designed by Gill. Created by Monotype Studio designer Terrance Weinzierl over a three-year period with digital applications at the forefront of the design criteria, Joanna Sans Nova is a humanist sans serif based primarily on Gill’s original Joanna. The design comprises 16 fonts, from thin to black, each with a complementary italic. Joanna Sans Nova has a larger x-height to ensure high levels of legibility – even on small digital screens. Due to its inherent humanist proportions, Joanna Sans Nova is surprisingly comfortable for longer form reading. Its low contrast in character stroke weights also improves imaging in a variety of environments. In addition, the calligraphic and fluid details enable the roman and italic designs to shine in headlines and other display uses. Joanna Sans features a robust range of OpenType features for fine typography, including small caps, old style figures, proportional figures, ligatures, superscript and subscript figures and support for fractions. With over 1000 glyphs per font, Joanna Sans supports more than 50 languages – in Latin, Greek and Cyrillic scripts. “I've always been a fan of Gill’s work, explains Weinzierl, and found the simple, humanist qualities of Joanna really fitting for a sans serif design. I wanted to make something with Gill flavor, but with more harmony in the extreme weights than Gill Sans – and with my twist on it. I went through six or seven different italic designs before landing on the current direction.” “The original Joanna had a very distinct italic, Weinzierl continues. “It’s very condensed, and has a very shallow angle. I wanted to have an italic that stood out, but in a different way. I took a cursive direction for the italic details, which are wider and slanted more, both improving character legibility.” The Joanna Sans Nova typeface family is part of the new Eric Gill series, drawing on Monotype’s heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojtěch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author’s creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also Růžička’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

FF Fago Thanks to his many years of involvement in major corporate type projects, Ole Schäfer had the necessary resources from which to construct his FF Fago™. The result is an extended family that provides comprehensive typographic support and whose qualities come to the fore in all relevant contexts ? from print to office through internet and wayfinding systems. FF Fago The sizable x-height together with the generous and open design of the characters ensure that the sans serif Fago remains clearly legible even in small point sizes or in potentially difficult situations, such as on wayfinding systems. A subtle contrast in line weight and letter forms that are reminiscent of those of an antiqua typeface provide the font with a restrained yet friendly and lively tone. Available in five weights, each with three different kerning widths and matching genuine italic variants, FF Fago is equipped for practically every situation. There are also small caps, oldstyle and lining figures, a selection of ligatures and geometric symbols. The range of potential applications of this universal font is almost inexhaustible ? it can be used in packaging design, on signs, posters and even for setting longer text sections. Fago is the ideal partner for those working on major corporate projects! FF Fago Correspondence Sans und Correspondence SerifThe Correspondence versions of Fago have been optimized for use in the business environment and in office communication. The carefully modified characters have a particularly robust feel, so that the clear, easily differentiated glyphs allow for straightforward communication even on screen. With these aims in mind, Schäfer has not only adjusted the x-height, but has provided certain letters in the sans variant ? such as the lowercase "i", the "r" and the uppercase "I" ? with serifs. Correspondence Serif, on the other hand, has been conceived as a slab serif throughout and in appearance has the look of the letters produced by the old office typewriting machines. An individual note has been added by providing a few unusual serif forms, as for example in the case of the "m", the "v" and the "y". Both Correspondence Sans and Serif are available in two weights with complementary italic versions and thus are ideally suited for use with standard office programs. This is all rounded off with a selection of office symbols. FF Fago Monospaced The use of a few typographic tricks is necessary to ensure that the letters of the alphabet appear to have the same width. Narrow letters such as "r" and "i" have been made to seem more expansive by using prominent serifs while the broader letters ? a good example is the "m" ? have the forms seen in a condensed font. And it is thanks to this design strategy that Fago Monospaced has the character of old typewriter text. What was once unavoidable because of the technology of the time is now a welcome alternative that can be used for the purposes of emphasis. As an additional supplement to the Fago superfamily, Fago Monospaced can be used, for example, to set short notes or draw attention to special text passages. There are three weights, in their original form without italic variants or small caps, but offering an alternative, technical form of the "0" with a crossbar.

Mr Orange is a typeface based on our handwritten letters which we used in some of our books H.O.U.S.E, D.E.S.I.G.N and Who Eats Whom. It has up to three alternate glyphs for each character, even for every diacritic letter. We do use our fonts in our books so we know that switching alternate glyphs can be a pain in the ass. Thats why we’ve created a very cool Contextual Alternates feature. It automatically sets alternate glyphs depending on frequency of appearance of the same character. The script doesn’t throw random glyphs. It’s checks if lets say letter “A” appears more then once in a sequence of characters. For example in the word “ANAKONDA”, the third “A” and the second “N” would be changed to glyphs from first stylistic set, the second “A” would also be changed but to glyph from second stylistic set. We’ve designed different rules for basic characters and different for diacritics and punctation. It really works great but of course you can always fine tune it by hand. This option has one obvious advantage for web fonts. Browsers that support OpenType calt feature will be able to display alternate characters. And since you can’t put by hand alternate glyphs on your website this is the only way to use them.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

Waylom is based on 19th century letters written in calligraphy. These writings had some glyphs of a height higher than the others, which together with the flowing lines, the elegant curves and the flourishes, gave it a very interesting rhythm and a lot of personality. Using this font you will achieve a very elegant, and warm style. This font is slim, feminine, friendly and sexy.
 Waylom includes a wide range of latin languages, 720 glyphs with many stylistic variations, initial forms, swashes and ligatures, which you can mix and match to achieve a more interesting effect. I separated the highest glyphs to create Waylom Pro, to which I added some very useful ornaments to improve its possibilities, with a total of 823 glyphs. 
Waylom is very versatile and is ideal for high-end logos, magazines and book covers, fashion, headlines, cards, posters, websites, and packaging.

Say hello to Bodywork! A modern blackletter with groovy touch! Bodywork - A black letter font in a groovy modern style with flower petal-inspired curves and modern style. This font is equipped with several OpenType features such as Ligatures, Alternative Character / Stylistic Sets, and multi-language support. Bodywork - has 2 regular and outline styles that complement your design needs, and this font is designed to be able to combine with other fonts. This font is perfect for branding, logo design, cover design, books, magazines, apparel designs, headlines, etc. Features: Bodywork Regular and Outline Instructions ( Access special characters, even in Cricut Design ) Have many alternate and ligatures Unique letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. Get ready to unleash your creativity with BODYWORK! Enjoy Designing! Dharmas Studio

Nor Tidal – A Modern Serif Font Nor Tidal is a contemporary serif font that seamlessly merges timeless elegance with a sleek, modern aesthetic. Designed to exude sophistication and readability, Nor Tidal strikes a perfect balance between tradition and innovation. Its well-defined serifs lend a touch of classic refinement, while subtle tweaks and clean lines bring a distinctly contemporary flair. The font’s versatile nature makes it suitable for a wide range of applications, from editorial design to branding, offering a timeless yet fresh typographic solution that captivates with its graceful curves and crisp, professional demeanor. Nor Tidal is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

First published in 1939 by Stempel, Renner Antiqua is a classic serif text typeface. Designed by Paul Renner, the father of Futura, this design stands out as strikingly different from his other designs. The letterforms are relatively compact and space saving and the strokes have a strong contrast to look as if made by a pen. This design is extremely distinctive and individualized, but without being overly distracting. Notice many of the small details such as the serifs on the uppercase C, E, and L and the bar at the top of the uppercase A. Also observe the special curve in the bowl of the lowercase b, the dot of the i, and the tail of the y. This design is wonderful for extended amounts of text at 10pt, but the subtle details will be fully appreciated when used larger for titles and display settings.

Diverda Serif is a contemporary typeface that is free from ornament. Created by Swiss designer Daniel Lanz, Diverda Serif is optimized for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Serif remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda Serif's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda Serif's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Serif include magazine design, as well as advertising for fashion, design, or architectural products. Diverda Serif is also a good fit for Corporate Identity solutions.

Glamiora - Bold Display Serif Font. Heathfield is equipped with Swash, Stylistic and Titling alternates as well as with Standard and Discretionary Ligatures. Glamiora is a bold vintage with serif style, Glamiora have strong and soft display character. And Glamiora is a stylish font that is both retro and bold font. It's thick curves give a 70s groovy vibe with the serif bringing it slightly back to traditional. Comes with alternatives and ligatures, helps to create stunning logos, quotes, posts, blog posts. branding projects, magazine imagery, wedding invitations, and much more. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual 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. This font is also support multi language.

Stadia is designed around a series of modular units: quartercircles, teardrop shapes, squares, circles and variations thereon. The versatility of these basic shapes is such that a teardrop, for example, can represent a looped bowl, as in the lower part of the a, while also representing a curved arc at the top of the same character. The strict grid is broken for the T and the Y, and the placement of accents. The alternative – basing a T, for example, across three units – though rational, is far less aesthetically pleasing. As always with type design, one has to know when the internal structural rules should be bent for a more beautiful result. The horizontal lines appear to travel through the letters, bursting into stars in the counters of lower-case characters such as the o and p. The outline version is weighted to the same width as the gaps between the units.

The intention with Capo was to make a typeface with a pinched, angled connection between curves and verticals. We have explored this incised, cut motif previously on typefaces, most notably Noah, Sabre and Harbour. These have focussed more specifically on stone-cut forms. For Capo we wanted to mix the expressive quality of its ‘pinch’ idea with an overall aesthetic that could be applied to text rather than headline. So Capo has something of the function and warm, organic quality of Grotesque style typefaces. In Capo’s Bold and Black weights the sharpness of the letter shapes is more dramatic and emphasised, making for great effect for large-sized text. Why Capo? A capo is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings by pinching or clamping them in place, hence raising the pitch.

Be prepared, this Halloween party would be extraordinary . PUMPKIN ISLAND! A cute decorative Halloween theme Typeface, but still keeping the versatileness. Summoned for a Halloween theme look but doesn't lock the possibility to use in other attractive stuff. It fully pumps including ligatures & stylistic alternates in both capital or basic character, and the good news is . . PUMPKIN ISLAND also support multi-language within numbers and punctuations Glide through with every curve of each letter and be ready to rock pump your awesome needs! As how it looks, PUMPKIN ISLAND really fit for any needs such as horror books cover, posters, branding or any attractive design taste Here it goes! Have an awesome party ~ ----------- A guide to accessing all alternatives can be read at: http://adobe.ly/1m1fn4Y ---------- **Features:** - A-Z Character Set - a-z Characters set - Numerals & Punctuations (OpenType Standard) - Multilingual Thank you and have a nice day

East Aurora - Bold Serif Font. East Aurora is a bold vintage style serif font with strong character and soft features. East Aurora is equipped with Swash, Stylistic and Titling alternates as well as with Standard and Discretionary Ligatures And this font ** East Aurora ** is a stylish font that is both retro and bold font. It's thick curves give a 70s groovy vibe with the serifs bringing it slightly back to traditional. Comes with alternatives and ligatures, helps to create stunning logos, quotes, posts, blog posts. branding projects, magazine imagery, wedding invitations, and much more. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual 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. This font is also support multi language.

Karlotte is an elegant Modern Serif Font giving a romantic feel to every curve having a smooth edge. This typeface has been carefully crafted to ensure premium quality and a luxurious feel. With 46 Ligatures included, it is a great help in creating the title of any of your projects: such as fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Features • Full set of uppercase, lowercase letters • 56 Ligatures • 20 Alternates • Numbers, symbols & punctuation • Characters with accents • Supports Multiple Languages • PUA Encoded WHAT’S INCLUDED • Karlotte – Regular • Karlotte – Italic This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Karlotte! Feel free to use the #Dora Typefoundry tag and # Karlotte font to show what you've done Thank You!

Cyclic is a stylish and modern slab serif in three practical, highly legible weights. The name ‘cyclic’ suits this typeface in several ways. Firstly because I wanted to create an ‘all-round’ typeface (pun intended) that could adapt to most applications, but also, as the dictionary definition explains - “occurring in circles, regularly repeated”. The basis for a lot of the characters did begin with a circle or sections of one; the equally distributed, rounded forms of this font are complemented however by the vertical strokes, and further counter-balanced by angular slab serifs on the remaining glyphs. Curved alternates with a celtic vibe are also included in the fonts and feature on the default slots in the separate Cyclic Uncial set. In summary, the whole Cyclic type family comprises a combined palette of circles and straight lines; something the cubist movement would have been proud of!

Introducing Andallan, a stunning script font designed to add a touch of elegance and sophistication to your creative projects. With its exquisite curves and graceful strokes, Andallan brings a sense of beauty and charm to any design. Featuring both uppercase and lowercase characters, along with numbers and punctuations, Andallan offers versatility and functionality for various design purposes. Whether you're creating logos, branding materials, invitations, or social media graphics, this script font will captivate your audience with its timeless appeal. One of the standout features of Andallan is its multilingual support, allowing you to seamlessly incorporate different languages into your designs. From English to French, Spanish to German, Andallan ensures that your message can reach a global audience with ease. Furthermore, Andallan comes with ligatures, enhancing the fluidity and natural flow of the script. These ligatures create seamless connections between letters, adding a touch of authenticity and uniqueness to your text.

New from Black Studio, presenting Aistoria is a typeface that is feminine, adaptable, aesthetically contemporary and creates limitless variety for your creative needs. Its striking contrasts and subtle details, together with luxurious strokes and voluptuous curves, create a beautiful and powerful statement for any typographic composition, blending glamor with contemporary aesthetics. Aistoria really helps you create unlimited variations for your creative needs in making your project titles: such as Books, fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. WHAT IS INCLUDED; • Aistoria – Regular This typeface of has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Aistoria! Feel free to use the #Black Studio tag and the #Aistoria font to show what you've done, I really hope you enjoy it! Thank you!

Margit Variable is the single font file of the type family Margit. Containing two-axis, one for setting the weight and another for the italic, this convenient single font file allows you to explore and mix endless typesetting combinations. You can now precisely choose a unique combination using the two-axis sliders, fitting your exact needs. The complete family is included in Margit Variable, containing all the characters and features in Margit, including Latin and Cyrillic scripts, supporting over 200 languages. Margit's letterforms have a contemporary style with pointy edges and friendly curves inspired by old wood-type specimens. Its bold and unapologetic design will be great to use in poster design, giving the content a stronger voice. This font family can bring a unique look to your packaging projects and modern branding solutions. Explore the extensive range of styles and weights that make this typeface ultra-versatile.

Stena is a very functional sans serif typeface with calligraphic feel, especially designed for contemporary typography. This family features deep and sharp ink-traps as part of its design. Thanks to its proportions, solid and balanced forms, combination of straight and curve lines, high x-height and expressive ink-traps, Stena combines readability with a strong personality. This dynamic typeface provides advanced typographical support with features such as ligatures, alternate characters, stylistics sets, fractions, etc. It also comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This carefully designed family consists of 8 weights, ranging from Thin to Black, each with matching true italics. It comes with a set of 566 characters per weight, supporting over 40 different languages using the Latin alphabet. Stena is the ideal choice for editorial, branding, corporate identity, and more.

Experience the unparalleled beauty and refinement of Qarkine the font that sets the standard for elegance and class in typography. With its sleek and stylish design, Qarkine strikes the perfect balance between classic and contemporary, making it a versatile choice for a wide range of design projects. The font's effortlessly elegant and polished look is perfect for upscale branding and marketing materials, adding a touch of glamour and luxury to any project. Qarkine's refined lettering has a timeless aesthetic that will never go out of style, making it a wise investment for designers who want to stay ahead of the curve. Whether you're looking to create a high-end fashion brand, a luxury lifestyle magazine, or simply want to add a touch of exclusivity to your designs, Qarkine is the perfect font for the job. Complete with ligatures alternates regular italic icon kerning multilingual support

Betharie, inspired by Retro style in combination with Hand Lettering style. I gave every single curve a personality touch. I hope this can inspire you from your work. Betharie has a very bouncy baseline, a perfectly paired complimentary marker font and a super handy set of bonus Swashes. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Features Basic Latin A-Z and a-z Numbers Symbols Stylistic Set Ligature PUA Encode Multilanguage Support To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). If you have any question, don't hesitate to contact me by email masinong.studio@gmail.com

Nature Boy was born in a fantasy world of old, where you can find magic, elegance, dreams and fun all together... just like nature in its purest form with its leafy curves and shapes that make it peacefully enjoyable. Soft and simple yet fairly ornamental, attributes that create an enchanting atmosphere but keep the texts legible at the same time when combined. Nature Boy can bring life and magic to every design, from editorial to posters, brands and packagings. Just picture this font on any product intended to move your soul and take you on a journey into a different and most beautiful place and time and let the adventure begin. This font family is made up of optically corrected regular, italic and bold types. All of them contain functional ligatures with alternative glyphs for texts and words to be dynamical and fluently graphed.

Classic Cassette - Classic Display Font. This font is inspired by the classic style and well display curves. Classic Cassette font makes for more fun, trendy and more lively. Classic Cassette has a surprise from alternate that will make your work even more beautiful. Classic Cassette is perfect for a professional touch which makes it even more unique display and classic themes. But Classic Cassette is also suitable for logos, branding, greeting cards, invitation cards, advertisements, titles, healines, book titles, stickers, packaging, quotes, posters, t-shirts/apparel, billboards and others. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual 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. Classic Cassette is also support multi language.