The most sensational design of the decade is now at large. These high-definition fonts can be used for titles, banners, tattooing, logotypes and many more places. Be it domestic or industrial, formal or informal, it can be used in every field imaginable. It has a sensational, funky style and remarks the current youth's style. Such a font style has never been seen by the world, until today. These designs are 100% original and handmade. I searched a million miles but found this as the most appropriate idea for the world of font types at this time. It's the coolest, funkiest and the best font ever made. It's the era of graffiti and 3D, and we've combined both to give you CRESCENT.. So, use it, love it, buy it!

Roadhouse is a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to Prohibition. Roadhouse reflects the style of lettering used on tavern signage and printed ephemera during the early 20th century. The family comes with 31 layering fonts, from top layers like bevels, highlights, stripes, outlines, as well as extruding and drop layers. It also includes 2 script fonts, upright and oblique, as well as 9 complimentary text fonts for smaller text settings. Either get the entire family of extrusions, bevel angles or the basic family with ready to use fonts that don’t need to be layered. Roadhouse is a great display typeface for logos, branding, packaging, and advertising.

Miss Donna - contemporary, powerful, versatile and casual. Curvy, sassy, fast-talking, and utterly useable, she takes you into the world of movie posters, decor ads, fashion posters and tags, greeting cards and invitations. Her lines are bold, clean and legible. The Miss Donna family comes in four styles: - REGULAR - clean good lines and generous curves - for decor ads, greeting cards, copy - NARROW - slim (more compact), and elegant with contained curves - for greeting cards, invitations, copy - BLACK - bold statement, round, generous curves - for movie posters, fashion posters - BLACK CAPS - especially designed for "all-caps" printed text. Use for headings & subheads. Miss Donna Black Caps contains capitals in two sizes and this gives you the ability to generate text of two types: - a correctly spaced and kerned upper case, OR - a TRUE Small Caps -- as opposed to the false Small Caps produced by a well-known word processing application. In a correctly proportioned Small Caps the stroke width should not be reduced in the same proportion as the letter height is reduced. The stroke width of the small capitals should rather be equal or close to the stroke width of the corresponding upper case characters. Note: When using script fonts it is NOT usually advisable to use text in ALL caps. The best effects for headings and subheads are obtained with an initial upper case letter followed by lower case characters. BUT, Miss Donna will still produce excellent results with all caps if you are using an application that supports kerning. If you are using upper and lower case then it is not necessary to use kerning, although it may make a slight difference on occasion. Miss Donna contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Say hello to 'Orange Flower'!! A bold and beautiful font with a brush and a lot of additions! I am very pleased to present 'Orange Flower' - a versatile and artistic set of handmade fonts with a brush! The font comes with alternative uppercase and lowercase characters. Thanks to the very clear contrast in weight and authentic style made with a brush, 'Orange Flower' is guaranteed to give your text an individual, individual feeling - ideal for logos, printed quotes, invitations, postcards, product packaging, headlines and everything your imagination is capable of, use in ink-based drawings or watercolors or independently in the form of bold handmade inscriptions!! :) The font comes with a lot of great features to keep you busy :) Each character has its own alternative version, which allows you to create unique words and layouts. There is also a second font brush 'Orange Flower Brush', which contains brush strokes, underscores and brush splashes. This gives you the opportunity to create an artistic image of your text, which will give your design a sloppy realistic look :) Both fonts have a large selection of characters, including ligatures. 'Orange Flower' includes ligatures and stylistic alternatives for those who have software with opentype support (for example, Photoshop/Illustrator). I really hope you enjoy it, and please feel free to write me a message if you have any questions or concerns! :) Font Features: - A-Z; a-z character set; - 1 language (English); - numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Mifelin is a well-defined serif font. Serifs are small ornaments that appear at the ends of the lines of letters, giving them a neater, more structured appearance. The well-defined serifs in this font create an elegant and professional impression. This serif font has a balanced and harmonious proportion of height and width. The proportions ensure that each letter looks proportional and easy to read. The line of letters in this font has a smoothness and clarity that distinguishes each character. Sharp, clear lines give off a professional and organized impression. This clarity also helps strengthen the legibility of the font in a variety of design settings. This serif font with an elegant look has a classic style that remains relevant in modern designs. Despite having strong roots in traditional typographic design, this font is able to adapt to more contemporary design contexts and give it a touch of elegance and class. Even though it has a touch of elegance, this serif font still prioritizes good readability. Each letter is carefully designed to ensure that the text remains easy to read and understand for the reader. Prominent readability is the hallmark of this font. Enjoy the various features available in this font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Mifelin is suitable for any designs that require a formal and official impression. This font is can be used in the design of books, magazines, reports, formal invitations, brand identities, and other design projects that require elegance and professionalism. 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.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

My family and I recently moved to a ‘fixer upper’ farm from the 1930’s. It came with a slightly run down barn, 4000 square metres of land and a LOT of redcurrant bushes. I can’t really say that I am overly fond of them. I find them a bit too tart. As a kid, I used to smother them in sugar, but I can’t do that any longer, since I am a responsible dad… ;-) Redcurrant is a slightly wonky, slightly crazy handmade font. It can be used for book covers or post cards, but feel free to use it for whatever. Comes with cute little swashes as well.

Neue Haas Unica by Toshi Omagari: The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it. In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as "Team '77" consists of Andre Gurtler, Christian Mengelt and Erich Gschwind to adapt Max Miedinger's font The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the "b" and "d", appear more delicate and have a slightly more pleasing effect. In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase "a", in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the "k" was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase "J" was also significantly curtailed. In addition to many minor alterations, such as to the length of the horizontal bars of the "E", "F" and "G" and to the angle of the tail of the "Q", the leg of the "R" was extended and made more diagonal. In the case of the numerals, the upper curve of the "2" was reduced and the lower loops of the "5" and "6" were correspondingly adapted. The sweep of the diagonal of the "7" was also reduced. Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team '77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica? a total of nine weights, from Ultra Light to Extra Black. He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals. With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.

Report School is a geometric sans-serif typeface that was inspired by student handwriting practice worksheets. But don’t worry, it’s not just a copy of those worksheets. Report School is designed to be easily readable, with legible letterforms that make it perfect for use in educational materials. You might be wondering what makes Report School different from other school-oriented geometric sans-serif typefaces. Well, for starters, it’s designed with readability in mind. While other typefaces might prioritize pure geometry, Report School puts legibility first. That means that when you use Report School, your readers will have an easier time reading your text. And speaking of easier reading, Report School has some features that are designed to make things even more legible. For example, instead of using straight quotes for inches, feet, or degrees, you can use primes. And Report School has regular primes, double primes, and triple primes, so you can choose the right one for your needs. Plus, the numerals in Report School are tabular, which means they’re vertically aligned for easier math equation alignment. But that’s not all! If you’re using OpenType savvy applications like InDesign, Illustrator, or Photoshop, you can access even more features. For example, you can use the stylistic alternates feature to access the letters “I” and “J” with no serifs, as well as a straight lowercase “q”. And if you’re looking for something a little different, you can check out Report School’s rounded version, called Report, or a version with casual strokes, called Sweater School. If you’re looking for a typeface that’s easy to read, but still has some personality, look no further than Report School. It’s the perfect choice for any educational materials that need to be both legible and stylish. 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, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Maya Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s) and “Idea Book” to get you started on designing your own wallpapers, textiles, stained/etched/privacy glass window films, or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc) and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

Akagi Pro is a complete rebuild and expansion of my popular Akagi typeface. Contemporary, clean, simple and friendly continue to serve as the adjectives for an expansion that includes 250+ additional characters per weight, many new ligature options, expanded stylistic alternates, 4 sets of figures, new symbols, case-sensitive punctuation, superscripts, subscripts, ordinals, expanded language support and two new styles that provide even more flexibility within the lighter weights of the family. When I designed Akagi in 2007, I wanted this new sans serif to "smile" at you — with this new expansion, I hope you smile back. Akagi Pro is economical while keeping a distinctive, expressive personality on the page that distinguishes it from among many of the mechanical/rigid/emotionless sans out there without becoming cliché. Perfect for the page and the screen, the flexible weights available allow for pinpoint selection at whatever size. Each style of Akagi Pro has a robust character set made even more functional with expansive OpenType features. A typesetter's dream — case-sensitive punctuation, tabular and proportional variants of lining and oldstyle numerals, true italics, small caps, expansive language support, an alternate 'g' and 'y', highlight a wealth of features of the typeface. This versatility infused within Akagi Pro will allow it to assume both roles of the utilitarian workhorse and light-hearted go-to typeface — and make the user happy.

Ivy Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s). They well might be a base for designing your own wallpapers, textiles, glass wall opaque foil privacy screens or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc.) to the pattern and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

Bague Sans is an award-winning monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings. This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. The most remarkable feature of Bague Sans is its vast array of uppercase alternates and ligatures which truly shine when set at display sizes. This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. Explore its dual personality, switch from Humanist to Geometric and vice versa by using alternate characters such as the single-storey a and single-storey g. From classic to modern, from excessive to neutral, Bague Sans is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity while it performs amazingly well on web. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. It supports extended Latin such as Central European, Baltic, Turkish, Romanian and includes numerous alternates and ligatures for unlimited text variations. You may also want to check out Bague Sans Pro which supports Cyrillic and Greek as well.

There are a few professions in which being left-handed confers an advantage-think of the great southpaw pitchers in major league baseball, like Sandy Koufax. Now, think of all the great left-handed calligraphers. Not so easy, right? Here's a hint: Luis Siquot. Far from being an advantage, Siquot's lefty orientation proved a hurdle to overcome. When I was young, I had serious problems writing," he recalls. "If there was a lot of text, I almost always soiled the paper with wet ink as my hand followed the pen." Then, a friend told Siquot about a special store in London that catered to left-handed people. It was there that he found an Osmiroid pen specially designed for left-handed calligraphers. ITC Cali is based on Siquot's use of this pen. "Electronic scans of my calligraphy were the foundation of the design," he says. "I was careful to leave in some imperfections to avoid an excessively mechanical look, and added the little notches in the strokes to imitate the texture of writing on a rough cotton paper." ITC Cali works equally well in text and display sizes, but it is a calligraphic script, Siquot warns, "and shouldn't be set in all capitals." That said, ITC Cali is a remarkably versatile design, well-suited to a variety of communication projects."

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

The Yasmine type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Yasmine employs four fixed x-height values, two above and two below the x-axis. Values are high to give a slight vertical overall look. Its design uses full curves with equally distributed weight. Yasmine family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our “natural Arabic input” method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Yasmine family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Astrum Heart is a very decorative script font using elegant caligraphic handwritten letters, that are all mutually interconnected, creating a unique look & feel of a personalized human handwritting. It’s clean and prefined lines makes Astrum Heart very appealing and modern, although it being very classical in it’s core essence. Capital letters are projected in a way to contain a stylized heart in it’s construction. Heart, as a symbol of love, makes this font unique for writting love letters, Valentine Day postcards, wedding invitations, etc. Idea for the creation of this font had originally came up from the need to create a beautiful design for Saint Valentine’s Day, but none of the existing fonts cut it - so I decided to create a new and unique typeface to fill this need. Letters and other characters are recognizeable by prefined ornaments, incorporated in a very subtle way. Whitespace between capital letters, lower-case letters, numbers and other characters are done in a way to minimize the need for kerning. Font Astrum Heart, besides being a celebration of class and exclusivity, is a very luxurious and elegant handwritten font. Words consisting of lower-case letters have the possibility of being decorated by adding a small heart at the beginning, anywhere between the letters, or at the end of the word. Character set for this font contains all western and central-european latin characters.

The Amudi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Amudi employs four fixed x-height values, two above and two below the x-axis.. Values are high to give a slight vertical overall look. Amudi family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our “natural Arabic input” method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. it Amudi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set with full support for three language scripts. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Mr Robot is a typeface designed for our next book for children. We wanted to have a colorful, dimensional and edgy looking letters for headlines. There are three ways to use Mr Robot. You can align three text frames with same text but with different colors and font styles (Regular, Shadow 1 or Shadow 3 and Shadow 2) or with ALLinONE font style but select a different OpenType Stylistic Sets (set 1 is like Shadow 1, set 2 like Shadow 2 and set 3 like Shadow 3). This works great but we don’t like to have unnecessary text frames in our layouts so we added a very cool Contextual Alternates OpenType feature. You just need Mr Robot ALLinONE style and only one text frame. First make sure that Contextual Alternates is off. Type every character three times (RRROOOBBBOOOTTT), select colors for each letter (first letter of every three is a side shadow, second is bottom shadow and third is a front of the dimensional letter). When everything is set just turn Contextual Alternates back on. Styles and alignment will be set automatically. Check out the Users Manual for a visual explanation. For web fonts it is better (at least for now) to use the first method (with font styles) as the OpenType features are not supported in older browsers.

Introducing Gadimon Layered Bold Script. This font is used with layers method, so it can generate interesting fonts to see, you no longer need to worry about how to make effects on the text. Use the Gadimon Basic style for purposes without shadow effect and when spacing is important for a project. Gadimon is suitable to use as a logotype, product designs, labels, watermark, social media posts, apparel, invitations, signboards, sports club, motor/car, special events or anything that need handwriting taste. What you get: - Gadimon includes capital and lowercase letters, Alternates, and Ligatures - Numbers + punctuation - Foreign language support I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor. Thirteen years later, FontHaus came across another little known typeface treasure: Diane. Designed by the legendary French designer Roger Excoffon in 1956, this remarkable script has never been faithfully recreated until now. In close collaboration with Mark Simonson, FontHaus and Mr. Simonson painstakingly researched rare type books, publications, European metal type services, and period showings from the United States, England, Germany and from the University of Groningen in the Netherlands. Finding full specimens of the font turned out to be quite a challenge. In most cases, only the caps and lowercase were shown. Furthermore, the more we researched Diane, many curious facts came to light. The caps in earlier specimens of Diane are completely different from specimens published later, suggesting that the face was redesigned at some point, perhaps in the mid-1960s. So we are left with two different sets of caps. The original had very elaborate, swirly strokes, very characteristic of Excoffon¹s gestural designs for posters and logos. Later on, these appear to have been replaced by a set of simpler, more traditional script caps. The original caps are criticized in one source Mark found (Practical Handbook on Display Typefaces, 1959) as being "exquisite" but "not highly legible". Perhaps this is what led to the simpler caps being introduced. Nevertheless, FontHaus's release includes not only both sets of caps, but a range of alternates and a number of new characters not originally available such as the Euro, and a magnificent alternate Ampersand to name a few.

TT Drugs useful links: Graphic presentation | Customization options Font family TT Drugs—fonts that are specifically designed for the pharmaceutical industry and for household chemicals. Then to make a text layout for package of any medicine, toothpaste or laundry detergent? The answer is—Drugs. Font family has a range from thin to black font and can be used on any surface: paper, cardboard, metal, glass and others. We offer you to have a look at this font’s narrow version—TT Drugs Condensed. FOLLOW US: Instagram | Facebook | Website TT Drugs OpenType features: Case Sensitive Forms, Tabular Figures, Fractions, Numerators, Denominators, Superiors, Scientific Inferiors. TT Drugs language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Hispania Script is a distinctive and distinctly nineteenth century script. It was released by Schelter & Giesecke of Leipzig, Germany around 1890. Particularly noteworthy are the sharply-pointed legs of the upper case ‘K’ & ‘R’ that seem to be characteristic of the period. Similar strokes, often with a slight curve, may be seen in typefaces like Alt-Romanish and Tinteretto by Schelter & Giesecke, Artistic and Lateinsch by Bauer and Berthold and the poster lettering of Edward Penfield. The angle of this script (approximately 24 degrees) and the sharp delicate points must have made the manufacture of this face in metal type a challenge. The resulting type was probably quite fragile and subject to accidental damage. Additionally, the sharp points would be subject to wear. With digital type, these concerns are eliminated. As far as I know, no one has ever dropped a digital letter on the floor. Nonetheless, creating a digital outline for a typeface like Hispania Script, with many crossing strokes, can be quite time-consuming. Even with an accurate scan of a good quality original, it is usually necessary to construct each crossing stroke separately and then remove the overlap in order to obtain a sharp and convincing intersection. Steep internal angles are often defined with two points, rather than one, to minimize ink or toner fill that can muddy the rendering in smaller sizes. Like all formal scripts, Hispania Script is always useful for announcements and invitations. However, the distinctiveness of of this design strongly suggests that there are other applications that may benefit from its use. Step outside the box and try it in some unexpected places. It is the unexpected that often draws a person’s eye.

Introducing Winthorpe, a typeface that’s steeped in history and inspired by the classic letterforms of traditional metal fonts. With its transitional style, Winthorpe bridges the gap between the old and the new, giving your designs a timeless, sophisticated edge. But Winthorpe is more than just a pretty face. It’s available in small caps and italics, in Regular, Semi-Bold, and Bold weights, giving you plenty of options to play with. And with its versatile range of characters, including lining and old-style numerals, fractions, superiors, inferiors, and ordinals, Winthorpe is perfect for any project that requires a touch of elegance and refinement. So if you’re looking to add a touch of classic sophistication to your designs, look no further than Winthorpe. With its carefully crafted letterforms and attention to detail, it’s the perfect choice for any project that demands the highest level of quality and style. 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, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Jan Tschichold designed Sabon in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the sixteenth century for inspiration, and the story has a complicated family thread that connects his Sabon design to the Garamond lineage. Jakob Sabon, who the type is named for, was a student of the great French punchcutter Claude Garamond. He completed a set of his teacher's punches after Garamond's death in 1561. Sabon became owner of a German foundry when he married the granddaughter of the Frankfurt printer, Christian Egenolff. Sabon died in 1580, and his widow married Konrad Berner, who took over the foundry. Tschichold loosely based his design on types from the 1592 specimen sheet issued by the Egenolff-Berner foundry: a 14-point roman attributed to Claude Garamond, and an italic attributed to Robert Granjon. Sabon was the typeface name chosen for this twentieth century revival and joint venture in production; this name avoided confusion with other fonts connected with the names of Garamond and Granjon. Classic, elegant, and extremely legible, Sabon is one of the most beautiful Garamond variations. Always a good choice for book typography, the Sabon family is also particularly good for text and headlines in magazines, advertisements, documentation, business reports, corporate design, multimedia, and correspondence. Sabon combines well with: Sans serif fonts such as Frutiger, Syntax. Slab serif fonts such as PMN Caecilia, Clairvaux. Fun fonts such as Grafilone, Animalia, Araby Rafique. See also the new revised version Sabon Next from the Platinum Collection."

Passport48 exclusively in otf. opentype format, originally debuted in 1997 as Passport, close to the beginning of the indie typographer boom. Almost 25 years have passed since it was introduced at MyFonts as PS1 and later in 2003 in TT TrueType.** It was designed by Joseph Coniglio of Coniglio Type as a revival. Historically, Passport was digitized from a shiny black enamel 1948 Royal Silent Deluxe portable. Kept on the ship of merchant marine, Captain John O’Learn, it was a salty manual typewriter with no intrinsic value as a collectable, even though it is awash as a work horse and a fine communicator of it’s time.. **NOTE: Little Passport family leaves the nest: The old weight variations, styles and formats have been eliminated to allow the original face to be stand alone, on its own attributes. For those purchasing their first typewriter fonts and to our diehard collectors as well, Passport presents a friendly new port-of-entry. A simple set, that is freed of many of the normal distressed points and paths that had made most “typewriters” authentic looking, but difficult to print and manipulate in layouts back in the day. It’s smooth nature comes from its impressions struck directly onto a piece of carbon paper bypassing the silk ink ribbon and going directly from metal to carbon paper transferring to a piece paper with very little tooth. Examine the glyphs to be certain you have what you need from this minimalist set, Passport48 is intended for ease of use and affordability. This is a warm font in a cold cruel world and a real port in the storm! It is versatile in today’s layouts with 24 years of worldwide sales. …Please enjoy the fruits of its travels, hoping your destinations and explorations into graphic design and letter composition are happy ones. -Joe Coniglio, the Pacific Northwest (2021).

The Maiandra family of typefaces were inspired by an early example of Oswald Cooper's hand-lettering, as seen in an advertisement for a book on home furnishing, circa 1909. Although many of Oz Cooper's letterform designs were cast in metal type, this particular one was not. Cooper's design itself was inspired by examples of letterforms he had admired in his study of Greek epigraphy (inscriptions). Cooper combined those ancient forms with the flair characteristic of design styles of his time. The result was an attractive design possessing subtle, purposeful irregularities, or "meanders" in his skilled brushwork. The Cooper design exhibits a unique warmth and harmony in text, while presenting a compelling rhythm, color and texture on the page. "Realizing the presence of this uniform warmth and readability," notes Dennis, "I decided to expand the design into a family of three weights with companion italics." The weights for the Maiandra family were selected for their versatility in usage over a broad range of output device resolutions. Indeed, "the consideration of eventual display resolutions, be they for screen or printer, provided the greatest challenge in the design of this typeface family," explains Dennis. Creating shapes that conform to the rigors of digital letterforms and modern rendering environments, without losing the unique characteristics of Oz Cooper's original design, is what Dennis has accomplished with his tribute to this great designer of the past. Maiandra, whose name derives from the Greek 'maiandros', meaning 'meander,' is intended for extended text use, as well as for informal subject matter, such as business correspondence, brochures and broadsides. "An example of a good use for Maiandra," notes Dennis, "is in printed matter relating to the turn-of-the-century art period known as the Arts and Crafts Movement. It can stand alone or be used with designs that complement its shape and color."