Spotlight was created by British designer Tony Geddes in the tradition of the bold serif fonts of early 19th century England. It too is a robust alphabet exhibiting extreme stroke contrasts, however, Geddes gave his font a more relaxed feel by not filling in the strokes completely. Long white rays break up the otherwise dark black strokes, following the form of the outer contours and giving the figures a three dimensional look. Spotlight is also reminiscent of the decorative advertisements of the 1930s and of the glamorous revues and shows of this time. Spotlight is perfect for headlines and display in larger point sizes.

A Fashion font that we created special for beauty branding needs, with extra ligatures in unique shape will be ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more beauty and modern. And specially for Ray & Glow font, We prepared any ligatures characters to help you create unlimited variations for your creative needs. Darla Fashion font ready with: Any options to get creative variations (combination of Ligatures) Preview as a inspirations that you can do with Darla font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

David was promised Saul’s daughter in marriage after he defeated Goliath. However, while Saul procrastinated in delivering his elder daughter for marriage, David fell in love with the younger daughter Mikal (1 Samuel 18:20,28). Mikal was the only wife who was reported to have loved David. Her name, Mikal, meant brook, or stream, a symbol of the water of the word. Mikal is a versatile and elegant script font; well suited in the area of magazines, web pages, packaging, logotypes and advertising, etc. This font can be used as body text for its good legibility and accurate kerning. Mikal font has all the advantages of OpenType technology that allows a variety of combinations: Swash, old style numerals, standard and discretionary ligatures, contextual alternates, word ending and tails. Mikal supports all Central European character set as well as basic Western languages.

IronType (formerly known as Ironman) is an extra bold geometric titling face in the Art Deco poster tradition. A warm sense of strength and playfulness runs throughout this design. Triangular-shaped crossbars are some of its distinguishing characteristics. The face also contains some very amusing alternates. The tails of the alternate cap K and R extend below the line and the alternate cap N has a hump instead of a diagonal stroke. A handy set of lowercase letters with lining and smaller figures are also included. IronType Extra Bold is now available in the OpenType Std format. Some new characters have been added to this OpenType version. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Gemmadonati Regular and Gemmadonati Italic is an organic, modern and casual calligraphy family font that has preserved in its glyphs its original textured appearance for a more personalized effect even more authentic. 
As an exclusively Open Type release, with 790 glyphs and 63 ornaments, it has several special alternatives for all letters with lots of possibility an an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, ornaments, and much more. 
These lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. 
Gemmadonati was made to make your project more beautiful and attractive! Have fun with it!

Harley Queen is a fun, vintage script font. It can be used for various purposes such as logos, wedding invitations, t-shirts, letterheads, signage, news, posters, badges, and more. Harley Queen Script features 300+ glyphs and extruded font, alternate characters, ligatures, and swash 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. How to get access alternate glyphs from open type fonts: http://youtu.be/iptSFA7feQ0 There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Need help? If you need help or advice, please contact me by e-mail. Thank you!

Your purchases include the Hello Darling Script, conjunctive handwritten script, and printed, handwritten, and printed script fonts. Hello Darling is made side by side to work together. All lowercase letters are placed to receive a connecting tail from Hello Darling. You can mix and match the same words to your heart's content! Hello Darling is also made with the crafter in mind: there are no closed counters on either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. The Hello Darling package includes: - More than 300 glyphs in the Hello Darling font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter binder staggered for a hand drawn look! - PUA-encoded for easy character map access! Enjoy and thank you.

In nautical folklore, the Flying Dutchman is a ship that can never go home and is doomed to sail the seas forever as a ghost ship. The story of the Dutchman appeared in print in the 1820s. With different versions written over the years, some date the legend to the 1640s or the early 1700s. The Flying Dutchman font is a revival of an 1876 font from MacKellar, Smiths & Jordan Co. The Truetype and OpenType formats include a larger extended character set with Central and Eastern European accented letters. Extra characters in this font are left and right pointing hands in place of the less than and greater than keys and a pirate flag is on the bracket keys. New to this style is the distressed version where the letters look like they've been hacked by a cutlass.

Matchmaker, a modern calligraphy typeface, was inspired by the various works of modern day calligraphers. Its tall, quirky, and juxtaposed letterforms provide a deviation from traditional calligraphy-inspired typefaces. Matchmaker features smart contextual alternates and swashes that add to the front and beginnings of letters (using lowercase letters, enter === before the word then +++ after the word to see the feature in action). Also watch as letters on the end of words magically receive a shortened tail. This font works best in OpenType aware software so that you can take advantage of its many tricks and features. Comes as an .otf (OpenType font) file. Here is a great article on open type aware software: http://www.myfonts.com/info/opentype-support-in-applications/ Chocked full of swashes, alternates, and ordinals, Matchmaker just might be the perfect match for your next project.

Lightly sailler is a beautiful new serif font that's created to complement a classic style for your project needs to be more perfect. Classic curves and sharp serifs make the Lightly sailler Serif feel elegant and nostalgic, at the same time, while still leaving enough simplicity to use for both headings and body types. It is also equipped with four special ligatures (ct, st, it, ck, sl, el, et, the, and end) as well as alternate features either capital or lowercase with a little tail that bumps the letters after which is a combination idea to give a more elegant impression. provides extra flair and body text legibility. Test the Lightly sailler in the box above to see how it works for your next project! Lightly sailler Includes: Uppercase & lowercase letters Numbers & Punctuation Ability Foreign language Ligature Alternate

Balgena is a versatile, high-contrast sans serif font family. Qualux comes from the words Quality and Luxury. This font has a distinctive serif style with a luxurious style in a light form, but also has a friendly and playful style in a bold font. Balgena has an extra glyph to give the crafter more options in designing. These extras will make a design look more classy, elegant, unique and edgy. Balgena is a font suitable for many projects, for modern or even retro vintage designs, branding, logos, crafts, stickers, sublimation, wedding invitations, and more. This font is suitable for a variety of projects such as logos, branding, magazines, signage, fashion, and many more. You will get : 3 type fonts -Regular -Bold -Italic mail features: Uppercase and lowercase letters Numbers and punctuation Multilingual support PUA encoded fonts Alternative styles and ligatures Thank You

Hellenic Typewriter is a slab serif for text and display, combining the typewriter aesthetic's balance of elegance and pragmatism with some of the extended western flavour of Hellenic Wide. Rounded strokes, some unorthodox slab details and playful, looping tails all add to Hellenic Typewriter’s warmth and approachability, while its typewriter-inspired proportions and clean forms provide rythym and an honest, confident voice. The lightest weights, laying bare the simple, partly-geometric and optically-monolinear construction, embody an assertive elegance. Ball terminals feature extensively throughout the design, in both lower and uppercase. This miroring of details creates a greater harmony between the cases and ensures that the true character of Hellenic Typewriter is not lost when setting in all-caps. Expressive true italics elaborate upon and emphasise some of the freer, more decorative elements of the roman styles.

Robert Hunter Middleton drew the original design of Stellar for the Ludlow Typograph Company in Chicago. Work began in the late 1920s, when Middleton was asked to create a sans serif type family to compete with European imports of Futura and Kabel. Stellar was Middleton's attempt to raise the ante. Where Futura and Kabel were geometric in design and monotone in weight, Stellar was based on roman character proportions and stroke weighs were stressed. In the late 1990s, Dave Farey took on the task of reviving the Stellar design. While Ludlow cut Stellar in a full range of point sizes, the family was limited to just a roman and bold design. Farey's revival is twice as large a family. It ranges from a very light called Stellar Nova to a very bold called Zeta In between are Lyra and Epsilon.

THE SUNMORA DECORATIVE SERIF Classic Decorative Serif Font from the eighties to present. It’s an elaborate curve and unique tail shape with a special 12 weight, thin to black. Make you freely set any design for headings, logos, fashion, website, floral, tagging, magazine cover, posters, and many more Completely bloom with the compatibility in multi-language, make it easy to use for any country. Come up with an alternative to bloom up your design and discretionary ligature to use it as decorative font THE SUNMORA has bloomed and it’s all class so if you want a stylish font that is guaranteed to draw the eye, then this is it! 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

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

Remember that kid in your class who always knew the right answer, who always had their hand raised? The first kid to finish the test, the kid who LIKED the pop quiz, the kid who did the homework five seconds after the teacher wrote the assignment on the board and was guaranteed to get an an A+, even though they NEVER studied? THAT kid? Burghal Design has a font that both remembers and salutes that kid, that teacher's pet, that know-it-all: SmartyPants. SmartyPants comes in regular, bold, and because bold just isn't bold enough for SmartyPants, super bold. There's also SmartyPants Doodles, with 90 pictures of SmartyPants stuff (such as a safety pin, a doghouse, an inkwell, and even a couple of cooties), and SmartyPants Snowflakes, with a whopping 182 dingbats to choose from.

The Genau family is a geometric sans serif designed under the influence of the constructivist schools of Vkhutemas and Bauhaus. Despite the traditional shapes, the family has characteristic features in the modern outline. The sharp junction of round and straight strokes repeats the sharp tails in “a” “d” “n” “u” and other. The family has an even, smooth texture. The family has been developed to advert materials for architecture, design, education, modern art. The family has high readability in a small size, and doesn't lose aesthetic qualities when enlarged. The font family contains 8 styles The font is equipped with a Variable file with two axes (weight and slope) Supports languages ​​of central Europe and some languages ​​of eastern Europe Contains small uppercase letters Contains tabular figures There are several alternates in the font The font has more than 1700 kerning pairs

Don your Flying Suit and tighten up your Atomic Powered Jet Pack buckle! Pencil in your pencil-thin moustache and stick your head into that Rocketeering Helmet! It's Zero Hour, 9am, 1949! Five Days a Week, you ARE the King of the Rocket Men, ready to Burn out your Fuse on a Timeless Flight into Outer Space Alone! Mission Control has advised our Space Race Typeface that Mars is not the kind of place to raise your kids and, furthermore, it's gonna be a long, long time until touchdown brings you round again to find you're not the man they think you are at home. You are in fact a ROCKET MAN; not a postman or a milkman, you're a modern man, a higher-than-a kite flying masked hero on your first manned flight to Infinity and Beyond!

Winslow Book is a playfully modern typeface with 6 weights and packed with styling features. Delicate features give it a playful feel while keeping Scotch Modern attributes of vertical stress, bracket serifs and ball terminals, while unique features give it a personality of its own. Winslow was designed to be a perfect typeface for text and display purposes. Because optionality is always fun, Winslow comes with an array of alternative features that add an extra bit of flair. From stylistic alternatives to tail serifs (in K, k, d, h, m, n) to complete new character designs (for g, y and &) a designer can choose which style they need for any project. Discretionary ligatures also create alternatives to all capital letter combinations. The family also comes with a playful set of italics that compliment the roman as well as their own set of alternatives.

Introducing, A NEW POWERFUL BOLD FONTS WITH ALTERNATES, Point Panther! Point Panther is a headline font with super bold style that contains up to 6 Alternates each characters! You can make a unique branding with this fonts. this powerful bold fonts also included italic and outline style! This fonts suitable to use for poster, branding, merchandise, and any street art style! Also support multilingual. What will you get: Point Panther Regular (Regular, Italic ) Point Panther Bold (Bold, Bold Italic) Point Panther Outline Regular (Regular, Italic ) Point Panther Outline Bold (Bold, Bold Italic) How to access the alternates! If you use PS/AI you can see the tutorial in this : https://helpx.adobe.com/illustrator/using/special-characters.html You can use the PUA for software design that not support Opentype. For another questions, please send a mail to saridezra@gmail.com. Thank You!

In his 1538 book on measurement, Albrecht Dürer gave clear descriptions and drawings about the proportions of the letters in both Roman and 'fraktur' alphabets (from Latin 'fractura', meaning that it's broken up with lots of different angles rather than smooth curves). Here is the fraktur alphabet as a font completed for use today, with a few characters modernised and some gaps filled. Of course there are countless examples of fraktur fonts already circulating, and indeed one foundry even has another version of this particular one; but we have different approaches to some of the questions raised, we have aimed at a more even tracking (horizontal spacing), and the 260 glyphs in our version include accents and other diacritics, and the modern symbols which Dürer would surely have embraced if he had had access to the internet.

Historia script is the stylish vintage look font. Come with ligatures, stylistic alternate, stylistic set and end swash to make your own design look perfect. Can be used for various purposes. such as headings, signature, logos, retro wedding invitation, t-shirt, letterhead, signage, label, news, posters, badges etc. Features : Unique ligatures Stylistic Alternates Stylistic sets Basic Latin A-Z and a-z Numbers International Symbols included Punctuations To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign, Adobe Photoshop & CorelDraw X6-X7. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Need help? If you need help or advice, please contact me by e-mail fargunstudio@gmail.com Thank you for your purchase!

BLOCK CAPITALS is a square, geometric, small caps display face that avoids fashionable foibles and exudes the neutral, unpretentious functionality of time-honoured block lettering. The family has three widths (Narrow, Normal and Wide), and the Bold weights are loosely based on well-used squared nets – 3x5, 4x5 and 5x5. However, the typeface escapes its grid origins whenever necessary with slightly modulated stroke weights, sensitive spacing and careful kerning. The aim is to retain the strength and simplicity of strictly geometric characters while introducing barely perceptible refinements that add elegance and usability. That said, letters and numbers line up horizontally without overlapping the capline or baseline, even the tail of the Q does not descend below the Baseline. Diacritics are modesty proportioned, accented characters extending no farther than necessary, allowing the leading on multiple lines of text to be kept to a minimum.

Introducing Disforia Inersia! Your purchase includes Disforia Inersia Script, conjunctive handwritten script, and Print, handwritten, printed script typeface. Disforia Inersia created side by side to work together. All lowercase letters are placed to receive a connecting tail from Disforia Inersia. You can mix and match in the same word to your heart's content! Disforia Inersia was also created with the crafter in mind: there are no closed counters in either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. Disforia Inersia Package includes: - Nearly 300+ glyphs in Inertia Dysphoria font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter staggered ligatures for a hand-drawn look! - PUA-encoded for easy character map access! Enjoy and thank you. Skinny Type

Originally designed in 1998 as a 3-font family, updated in 2016 by new italics, small caps and many OpenType functions, resulting in a set of highly visible poster typefaces. If a  text is set in a  good Egyptienne, we can observe a  kind of sparkle in the lines. Slab-serifs are cheerful typefaces, possibly due to the fact that they developed simultaneously with Grotesque typefaces. The design principle originating from the first half of the 19th century does not have such firm and long-established roots as for example, the Venetian Roman typefaces, hence it’s much more prone to a  “decline”. We know of Egyptiennes with uneven color, with letters falling backwards (this often happens in the case of “S”), and especially with slightly bizarre modeling of details. In the course of time, however, it was realized that such things could be quite pleasant and tempting. After a  century and a  half, we find that such Egyptiennes could refresh uniform computer typography. The forms of many twisted letters resemble the gestures of a  juggler: others, rectangularly static ones, reflect the profile of a  rail or a  steel girder – things which, in their times, were new and were observed by the first creators of Egyptiennes. These typefaces are ideal for circus posters and programs for theatre performances, just as for printing on cement sacks.

Florian Fecher’s Lektorat font family is one for the books, and for the screens, and for the magazines. While an editorial’s main goals are to entertain, inform, and persuade, more should be considered. For example, clear divisions are necessary, not just from one article to the next, but in how each is positioned as op-ed or fact-based, infographic or table, vilifying or uplifting. From masthead to colophon, Lektorat has six concise text styles and 21 display styles to captivate, educate, and motivate within any editorial purpose. Magazines and related publications are notoriously difficult to brand and then to format accordingly. The research behind Lektorat focused on expression versus communication and what it takes for a great typeface to accomplish both tasks. In the changeover from the 19th to 20th century, German type foundry Schelter & Giesecke published several grotesque families that would become Lektorat’s partial inspiration. Experimentation with concepts from different exemplars gave birth to Lektorat’s manifest character traits: raised shoulders, deep incisions within highly contrasted junctions, and asymmetrical counters in a sans family. After thoroughly analysing magazine publishing and editorial designs, Florian discovered that a concise setup is sufficient for general paragraph text. So Lektorat’s text offering is concentrated into six total styles: regular, semibold, and bold with their obliques. Stylistic sets are equally minimal; an alternate ‘k, K’ and tail-less ‘a’ appear in text only. No fluff, no wasted “good intentions”, just a laser-like suite to focus the reader on the words. The display styles were another matter. They aim to attract attention in banners, as oversized type filling small spaces, photo knockouts, and in subsidiary headings like decks, callouts, sections, and more. For these reasons, three dialed-in widths — Narrow, Condensed, and Compressed — complete the display offerings in seven upright weights each, flaunting 21 headlining fonts in total. If being on font technology’s cutting edge is more your goal, the Lektorat type family is optionally available in three small variable font files for ultimate control and data savings. The Lektorat typeface was forged with a steel spine for pixel and print publishing. It unwaveringly informs, convincingly persuades, and aesthetically entertains when the tone calls for it. Its sans serif forms expand in methodical ways until the heaviest two weights close in, highlighting its irrepressible usefulness to the very end. Lektorat is an example of how much we relish entering into an agreed battle of persuasion — one which both sides actually enjoy.

The Ctoxina family is growing. Due to the success the author decided to add an outline version of the font. The typeface is now available in 6 different styles: light, light italic, regular, italic, bold and bold italic. The Atoxina family is designed especially for the burgeoning market of starships and other space cruisers. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters.

Capitaly Script is a bold calligraphic typeface. Created with pride and care, this lettering has the optimal appearance of a classic vintage logo, for a modern setting. The font family consists of the styles Script (Regular) and Top (Upright). Use asterisk * after a letter to make a swash letter. Example: Ber*lin Use _ or # or ¤ after any word to make a swash tail. Example: Cursive¤ Letters_ Use multiple _ # ¤ after any word to make swashes of different length. Example: Decorate______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

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.

Black Drum is a rare revival typewriter face, made digital from analog samples gathered with great care by Coniglio Type. A time and place; type and life. Black Drum is contemporary designer type, made from the struck steel hammers of an Art Deco Period san serif face transferred from a mechanical 1926 custom editor Royal Portable typewriter. Anna Conroy of Type Heritage, LLC, Philadelphia comments on Black Drum and its new place in time today: “Wow! nice lookin’ face Joseph! —Perfect, somewhere between Cable; [Rudolph Koch, 1927] (which was about the first transatlantic telegraph cable) with its raised x-height; and Futura [Paul Renner, 1928]. Yup, it has that great “Monopoly Game” question mark -- and all on a period-piece typewriter! You should have no trouble grafting that sorely needed Euro symbol.” –And he very well did! Author: Joseph Coniglio Producer: Coniglio Type MyFonts debut: October 2021

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.

Rhapson Script is a soft, bold, elegant & fun vintage script font. Can be used for various purposes such as logos, wedding invitation, t-shirt, letterhead, signage, news, posters, badges etc. Rhapson Script features 472 glyphs and 196 alternate characters, ligatures, swash and multiple language 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. How to get access alternate glyphs from open type fonts: http://youtu.be/iptSFA7feQ0 There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Need help? If you need help or advice, please contact me by e-mail: maximal.fonts@gmail.com Thank you!

Private Sans is a three styles family of humanistic sans serif based on broad pen calligraphy. Its noticeable distinctions -- a vivid irregular nature which is not typical for usual Cyrillic text faces. Characters of the font have visible “inthasis”, soft terminals and slanted axis in internal ovals. The name of the font reflects an intention to design a typeface for personal messages. It can be used in blogs, e-mails, personal Web pages -- the places where author wants to show his personal attitude and invite visitors to enter his intimate space. It also usable for memoirs, autobiographies, interviews, and for those kind of literature that deals with feelings and emotional experience. The font family was designed by Olga Karpushina on the base of her graduate work of Type and Typography course in British Higher School of Art and Design. Released by ParaType in 2010.